Download PDF by Eric Csapo: Actors and Icons of the Ancient Theater

By Eric Csapo

ISBN-10: 1405135360

ISBN-13: 9781405135368

ISBN-10: 1444318039

ISBN-13: 9781444318036

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 standpoint into a number of new and contested fields of analysis
  • Offers the 1st systematic survey of proof for the unfold of theater outdoor Athens and the impression of the growth of theater upon actors and dramatic literature
  • Addresses a examine of the privatization of theater and divulges the way it used to be pushed via political pursuits
  • Challenges preconceived notions approximately theater background

Content:
Chapter 1 A Portrait of the Artist I: Theater?Realistic artwork 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 historical past of the Privatization of Drama from Classical Athens to Early Imperial Rome (pages 168–204):

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Extra info for Actors and Icons of the Ancient Theater

Sample text

Though choreuts did, apparently, wear the comic somation under their costumes, we have no example of a chorus that danced naked and, as the somation with no further overlay represents “stage-nakedness,” this figure is very likely to be an actor. Moreover, as the figure is not on a chous but on a cup, we have pretty certainly the actor himself (our very first) and not a child impersonating an actor. 83 Perhaps the most interesting – certainly the most unusual – of all Attic representations of drama, it is also one of the most damaged.

Four vasepaintings make this supposition a certainty. 82 One fragment shows the right side of a torso wearing a comic body suit (somation). Moore dates it to 450–440 bc, but MMC to 430 bc, which is more in line with the iconographic comparanda. It is not impossible that the figure is intended to be a comic choreut, possibly of the sort with mask in hand, but this is unlikely. Though choreuts did, apparently, wear the comic somation under their costumes, we have no example of a chorus that danced naked and, as the somation with no further overlay represents “stage-nakedness,” this figure is very likely to be an actor.

51 Ar. Ach. 32–5. 113–18; Biles 2007; Wilson 2007a. 304–9. 53 For the eiselasis, see Buhmann 1975; Slater 1984; Kurke 1993. Eiselastic imagery seems to have appeared on dedications for musical victories as well, see below, pp. 27–8. 54 Boardman 1990. 560, London B 424, ABV 168. 56 Scholl 2000 discussing Ny Carlsberg Glyptotek 3306. 181. Cf. indd 34 11/21/2009 6:25:49 AM Portrait of the Artist I 35 57 Cf. also the Attic relief, Louvre Ma 756 which is thought by some to represent dithyrambic choreuts, but is just as likely to be a dramatic monument (closely related in style to the probably dramatic relief from Sphettos, Athens NM 2400, with which it is probably contemporary): see the discussion in Csapo forthcoming A.

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Actors and Icons of the Ancient Theater by Eric Csapo


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