Download e-book for iPad: Actors and Icons of the Ancient Theater by Eric Csapo

By Eric Csapo

Actors and Icons of the traditional Theater examines actors and their renowned reception from the origins of theater in Classical Greece to the Roman Empire

  • Presents a hugely unique perspective into a number of new and contested fields of research
  • Offers the 1st systematic survey of facts for the unfold of theater open air Athens and the effect of the growth of theater upon actors and dramatic literature
  • Addresses a learn of the privatization of theater and divulges the way it used to be pushed by means of political pursuits
  • Challenges preconceived notions approximately theater historical past

Chapter 1 A Portrait of the Artist I: Theater?Realistic paintings in Athens, 500–330 BC (pages 1–37):
Chapter 2 A Portrait of the Artist II: Theater?Realistic artwork within the Greek West, 400–300 BC (pages 38–82):
Chapter three The unfold of Theater and the increase of the Actor (pages 83–116):
Chapter four Kallippides at the flooring Sweepings: the boundaries of Realism in Classical performing (pages 117–139):
Chapter five Cooking with Menander: Slices from the traditional domestic leisure undefined? (pages 140–167):
Chapter 6 The Politics of Privatization: a quick heritage of the Privatization of Drama from Classical Athens to Early Imperial Rome (pages 168–204):

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54 n. 56. 57–8; Bakola forthcoming. 28 Comedies with satyr choruses: Storey 2005. 29 Studied by Green 1985a. 380; Csapo 2006/7. Rothwell 2006 rightly stresses the importance of the komos but is wrong to associate the komos exclusively with the aristocratic symposium. 18; see Csapo 2008. 32 See esp. 52–8. 33 Cf. Berlin 3223 and discussion in Rusten forthcoming. 415 bc (Aristophanes’ Birds was first produced 414 bc). Most experts I have consulted would date the vase at least a decade earlier, and German scholars would update it by two decades or more (cf.

Petersburg B 201 (St. 1538); Schmidt 1967; Green 1995a. 77. indd 33 11/21/2009 6:25:49 AM 34 Portrait of the Artist I 45 IG I3 840; IG II2 3023; IG II2 3089; IG II2 4572. 46 As earlier suggested by Schmidt 1967. 3, for Sicily in the fifth century by Epicharmus (PCG 1 F 237), and for Euboea in the fourth century by IG XII 9, 207 etc. (Le Guen 2001a, vol. 1, no. 1, l. 34). Epicharmus’ expression “the decision rests on the knees of five judges” implies the use of tablets: it is difficult to see why the judges’ knees should be evoked unless the voting tablets normally rested upon them (see Chapter 3, p.

E. masklike). 72, fig. 88; P&P 30, fig. 9. 87–8, n. 64. 83, has now been returned to Italy by the Getty Museum. It was first published by Green 1985 and has been much discussed since then (see following notes). 1, was first mentioned in print in Burlington Magazine Jan. 2008. 25 There are good reasons why cocks in Greek art are sometimes ithyphallic and they have nothing to do with satyromorphism: see Csapo 1993b. 54 n. 56. 57–8; Bakola forthcoming. 28 Comedies with satyr choruses: Storey 2005.

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