Athenian Tragedy in Performance: A Guide to Contemporary by Melinda Powers PDF

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By Melinda Powers

ISBN-10: 1609382315

ISBN-13: 9781609382315

Foregrounding serious questions about the strain among the research of drama as literature as opposed to the examine of functionality, Melinda Powers investigates the methodological difficulties that come up in a number of the most recent examine on old Greek theatre. She examines key matters and debates in regards to the fifth-century theatrical house, viewers, refrain, functionality variety, costuming, houses, gesture, and masks, yet rather than featuring a brand new argument on those subject matters, Powers goals to appreciate her topic greater by means of exploring the shared ancient difficulties that each one students confront as they interpret and clarify Athenian tragedy.

A case learn of Euripides’s Bacchae, which gives additional info approximately functionality than the other extant tragedy, demonstrates attainable equipment for reconstructing the play’s historic functionality and likewise the inevitable demanding situations inherent in that activity, from the constrained assets and the trouble of examining visible fabric, to the dangers of conflating actor with personality and extrapolating backward from modern theatrical experience.

As an inquiry into the examine of theatre and function, an advent to ancient writing, a reference for extra examining, and a explanation of a number of normal misconceptions approximately Athenian tragedy and its functionality, this historiographical research should be worthwhile to experts, practitioners, and scholars alike.

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Extra info for Athenian Tragedy in Performance: A Guide to Contemporary Studies and Historical Debates

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Because Mt. Cithaeron is beyond the town walls (1222 – 26), the same eisodos should lead to both places, and the chorus and possibly Dionysus would have arrived by the opposite eisodos, which leads to the East. In this case, Dionysus (east/left) and Pentheus (west/right) would have arrived from two opposite directions. In order to maintain continuity, the chorus in the Parados (the opening choral ode) would have arrived via the east eisodos and Agaue, who comes from Cithaeron, would have arrived via the west eisodos.

Thus, the servant appears to have brought the god, who was earlier on Cithaeron, from the direction of the prison, which, like T h e at r ic a l Spa c e | 25 the Athenians’ own public prison near the Acropolis, may have been in town. Second, Dionysus plans to lead Pentheus through the town on the way to Cithaeron to make the king the laughingstock of Thebes (854 – 56), and third, Pentheus fears being seen by the Cadmeians on the way to the mountain (840). Furthermore, the first messenger states that the Theban maenads ransacked Hysiai and Erythrai, which are settlements at the foot of Mt.

The ephemeral nature of performance may have undermined what the text suggests, for the didaskalos’s choices, the reasons for them, and the audience’s expectations for the use of space are clear gaps in the historical record. 85 In other words, the extant text is no simple blueprint or plan for the historical performance, nor is it a basic directive or diagram for controlling the performance event. Nevertheless, inspired and informed by the many debates about the architecture of the Theatre of Dionysus, I have here attempted to present a possible if not probable hypothesis about Bacchae’s spatial practices in its 405 BCE performance by reading the play’s fictive space in relation to the physical space of the theatre.

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Athenian Tragedy in Performance: A Guide to Contemporary Studies and Historical Debates by Melinda Powers

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