The Roman Theatre and Its AudienceHarvard University Press, 1991 - 267 Seiten Drawing on recent archaeological investigations, new scholarship, and the author's own original research and staging experience, this book offers a new and fascinating picture of theatrical performance in the ancient world. Richard Beacham traces the history of the Roman theatre, from its origins in the fourth century B.C. to the demise of formal theatrical activity at the end of antiquity. He characterizes the comedy of Plautus and Terence and the audience to which the Roman playwrights were appealing; describes staging, scenery, costuming, and performance style; and details a variety of theatrical forms, including comedy, tragedy, mime, pantomime, and spectacles. |
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Seite 60
... elements appropriate to their own conception of theatre , and then in the course of time to modify them as theatre practice evolved in Roman society . What can be determined about the choices they made , and the reasons for making them ...
... elements appropriate to their own conception of theatre , and then in the course of time to modify them as theatre practice evolved in Roman society . What can be determined about the choices they made , and the reasons for making them ...
Seite 62
... element to be borrowed from Hellenistic architecture , and I believe that by Plautus ' day it had indeed become part of their temporary stage structure . In time we would expect further elements to have been introduced into Roman ...
... element to be borrowed from Hellenistic architecture , and I believe that by Plautus ' day it had indeed become part of their temporary stage structure . In time we would expect further elements to have been introduced into Roman ...
Seite 228
... elements such as marble inlay , friezes , and simple entablature . Not content with such basic articulation , the painters of the second phase ( c . 80-15 BC ) attempted to ' open up ' the wall both by depicting imaginary apertures in ...
... elements such as marble inlay , friezes , and simple entablature . Not content with such basic articulation , the painters of the second phase ( c . 80-15 BC ) attempted to ' open up ' the wall both by depicting imaginary apertures in ...
Inhalt
EARLY ROMAN STAGES | 56 |
PERFORMING A PLAY | 86 |
TRAGEDY MIME AND PANTOMIME | 117 |
Urheberrecht | |
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Accius actors aediles ancient Andronicus artists Atellanae auditorium Augustus Aulus Gellius building Caecilius Casina Cassius Dio century BC Chalinus characters Cicero Cleostrata comedy comic culture dance dancer decorated depict discussion doors doorway dramatic earlier early elements emperor Ennius entertainments Epist Etruscan evidence example farce festivals Gellius Greek Hellenistic Hist Horace imperial Italy later Latin literary Livy Ludi Lysidamus Magna Graecia masks mime Myrrhina Naevius Nero notes Olympio Oplontis Oscan Pacuvius panels pantomime particularly performance periaktoi period permanent theatre phlyakes Plautine Plautus plays playwright Pliny plot poet political Polybius Pompey Pompey's popular practice presented prologue Quintilian reference role Roman audience Roman society Roman stage Roman theatre Rome Rome's satyr scaenae frons scene scenery scenic Seneca siparia slave social spectators stage facade structure Suetonius suggest surviving Tacitus taste temporary stages Terence Terence's theatrical tradition tragedy tragic Valerius Maximus Vitruvius wall paintings
Verweise auf dieses Buch
The Nature of Roman Comedy: A Study in Popular Entertainment George Eckel Duckworth Keine Leseprobe verfügbar - 1994 |