By George W.M. Harrison, Vayos Liapis
In recent times, classicists have began aggressively to discover the impression of functionality at the ways that Greek and Roman performs are developed and liked, either of their unique functionality context and in reperformances all the way down to the current day. whereas by no means wasting sight of the playscripts, it is important to undertake a extra inclusive viewpoint, one integrating insights from archaeology, paintings, background, functionality concept, theatre semiotics, theatrical praxis, and glossy functionality reception. This quantity contributes to the recovery of a much-needed stability among functionality and textual content: it really is dedicated to exploring how performance-related issues (including degree enterprise, mask, costumes, props, functionality area, and stage-sets) support us reach an more advantageous appreciation of old theatre.
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Extra info for Performance in Greek and Roman Theatre
See Franko in this volume. , Pl. As. 11, Trin. 19; Ter. Eun. 7; and cf. Cic. Fin. 7. 59 See Handley (1968) and, among others, Bain (1979b) and Damen (1992) and (1995). For a most sensible assessment of the scholarly contributions so far see Danese (2002). m. 62 This is arguably the most important development in Latin performance-criticism, as it signals a shift in methodological approach: the texts of the Latin playwrights are viewed as performance events, and metre, language registers and word morphology are no longer studied as an end in themselves but are combined with evidence from Roman material culture, social history, and politics to enhance our understanding and appreciation of what such performances may have meant to their original audiences.
Pis. 46; Rosc. Am. 67). We should even visualise stage items which, though not explicitly mentioned in the script, were likely to have been present on the set because the director of the play aimed at plausible character-portrayal or realism in the production. 11) mentions that the actor who played the part of the old farmer Menedemus in a revival of Terence’s Heauton Timorumenos wore a leather jacket; there is no reference to such an item of clothing in Terence’s extant script. Although it would have been perfectly possible, and sometimes even desirable, for the Roman audience to imagine 74 Stage altar: Duckworth (1952) 83–84; Marshall (2006) 53–54; Manuwald (2011) 72.
27. m. harrison of such volumes are more sensitive, in comparison to Plautine and Terentian commentators, to the visual dimension and performance problems of the text they discuss. It is possible to see in their analysis that the debate of Senecan staging is no longer expressed in terms of a clear-cut divide between either full-scale performance or recitation, and that recitation and stage acting should not be viewed as mutually exclusive cultural activities (one may already deduce this from the testimony of Pliny, Ep.