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An exciting series that provides students with direct access to the ancient world by offering new translations of extracts from its key texts.
Inleiding tot de komedies van Griekse en Romeinse schrijvers, met aandacht voor de toneeltechnische aspecten die met de opvoering samenhangen
This book provides a unique panorama of this challenging area of Greek literature, combining literary perspectives with historical issues and material culture.
This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part of cultures where presentation is a major element of all social and political life. Individual chapters range across a two thousand year timescale, and include specific chapters on acting traditions, masks, properties, playing places, festivals, religion and drama, comedy and society, and commodity, concluding with the dramatic legacy of myth and the modern media. The book addresses the needs of students of drama and classics, as well as anyone with an interest in the theatre's history and practice.
This book explores the social institutions, the prevailing social values, and the ideology of the ancient city-state as revealed in Roman Comedy. "The very essence of comedy is social," writes David Konstan, "and in the complex movement of its plots we may be able to discern the lineaments and contradictions of the reigning ideas of an age." David Konstan looks closely at eight plays: Plautus's Aulularia, Asinaria, Captivi, Rudens, Cistellaria, and Truculentus, and Terence's Phormio and Hecyra. Offering new interpretations of each, he develops a "typology of plot forms" by analyzing structural features and patterns of conventional behavior in the plays, and he relates the results of his literary analysis to contemporary social conditions. He argues that the plays address tensions that were potentially disruptive to the ancient city-state, and that they tended to resolve these tensions in ways that affirmed traditional values. Roman Comedy is an innovative and challenging book that will be welcomed by students of classical literature, ancient social history, the history of the theater, and comedy as a genre.
The first literary account of a style of comic drama which was to become the root of all subsequent Western comedy. Places the social comedy of Menander, Plautus and Terence in its ancient context and considers its universal literary qualities.
Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.
This volume acknowledges the centrality of comic invective in a range of oratorical institutions (especially forensic and symbouleutic), and aspires to enhance the knowledge and understanding of how this technique is used in such con-texts of both Greek and Roman oratory. Despite the important scholarly work that has been done in discussing the patterns of using invective in Greek and Roman texts and contexts, there are still notable gaps in our knowledge of the issue. The introduction to, and the twelve chapters of, this volume address some understudied multi-genre and interdisciplinary topics: first, the ways in which comic invective in oratory draws on, or has implications for, comedy and other genres, or how these literary genres are influenced by oratorical theory and practice, and by contemporary socio-political circumstances, in articulating comic invective and targeting prominent individuals; second, how comic invective sustains relationships and promotes persuasion through unity and division; third, how it connects with sexuality, the human body and male/female physiology; fourth, what impact generic dichotomies, as, for example, public-private and defence-prosecution, may have upon using comic invective; and fifth, what the limitations in its use are, depending on the codes of honour and decency in ancient Greece and Rome.
Much of what we know of Greco-Roman comedy comes from the surviving works of just four playwrights—the Greeks Aristophanes and Menander and the Romans Plautus and Terence. To introduce these authors and their work to students and general readers, this book offers a new, accessible translation of a representative play by each playwright, accompanied by a general introduction to the author's life and times, a scholarly article on a prominent theme in the play, and a bibliography of selected readings about the play and playwright. This range of material, rare in a single volume, provides several reading and teaching options, from the study of a single author to an overview of the entire Classical comedic tradition. The plays have been translated for readability and fidelity to the original text by established Classics scholars. Douglas Olson provides the translation and commentary for Aristophanes' Acharnians, Shawn O'Bryhim for Menander's Dyskolos, George Fredric Franco for Plautus' Casina, and Timothy J. Moore for Terence's Phormio.