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 analysis
- Offers the 1st systematic survey of facts for the unfold of theater outdoors 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 through political pursuits
- Challenges preconceived notions approximately theater heritage
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 paintings 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 bounds 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 brief background of the Privatization of Drama from Classical Athens to Early Imperial Rome (pages 168–204):
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Extra resources for Actors and Icons of the Ancient Theater
348 n. 250. Aristodemos’ description of the epinikia in Plato’s Symposium (see previous note) shows that it took place in a large, public space in which other dramatic victors, their friends and well-wishers were present (note that at the end of Aristophanes’ Assemblywomen, lines 1141–2, Praxagora’s maid invites the spectators and the judges to join the feast). Aristodemos complains that he was frightened by the size of the crowd (ochlos) at the epinikia (174a 7), and Agathon complains that he looked for him in vain in order to to invite him to a private (and less boisterous) victory party at this own home on the following day (174e).
The Pronomos Painter plays with this figure of choregic art: he puts Dionysus’ mythical and theatrical choruses in juxtaposed but clearly separated spaces on front and back of the vase. The associates of the Pronomos Painter, through indiscriminately mixing mythical and real dancers, develop the metaphor into a dull equation that loses its poignancy because it also flattens the pointed contrast between mythical and real, divine and mortal. The image of choreuts relaxing after a dramatic victory is an appropriate subject for choregic art.
The chous is a ritual vase associated with drinking contests that took place on the second day (notably called Choes) of the Anthesteria (a festival lasting three days in the winter month of Anthesterion, roughly February). The subjects of choes are often Dionysian, doubtless a reflection of the fact that Dionysus is the sovereign deity of the Anthesteria. But the subjects are not limited to activities that take place at this festival. 71 And yet there was no dithyrambic competition at the Anthesteria.