Relevant bibliographies by topics / Ancient athens theater

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Academic literature on the topic 'Ancient athens theater'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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Journal articles on the topic "Ancient athens theater"

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Parush, Adi. "The Courtroom as Theater and the Theater as Courtroom in Ancient Athens." Israel Law Review 35, no. 1 (2001): 118–37. http://dx.doi.org/10.1017/s0021223700012103.

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To prevent any misunderstanding, I first would like to clarify that I am not a historian dealing with classical studies; my main disciplines are philosophy and law. However, following a seminar I gave dealing with several philosophical-legal aspects of Greek tragedy, and an article I wrote about the relationship between the concept of guilt in Oedipus Tyrannus and the principle of strict liability in modern criminal law, I have found myself in recent years becoming increasingly interested in the unique culture which emerged in Athens during the classical period, particularly in the 5th century BCE. In the course of that century, Athens was involved in many wars – against the Persians in the early decades, against Sparta (the Peloponnesian War) in the latter decades, and other “minor” wars. And yet despite these wars, during the 5th century BCE Athens was in a state of cultural-social-political ferment that left its mark on the whole history of western culture. In the course of that century, there was in Athens a burgeoning of independent-critical thought in the philosophical domain, nature and medicine were systematically studied, tragedies by the Athenians Aeschylus, Sophocles and Euripides were written and performed, and the democratic regime took shape.
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Gruber, Markus A. "David Kawalko Roselli: Theater of the People. Spectators and Society in Ancient Athens." Gnomon 84, no. 7 (2012): 577–81. http://dx.doi.org/10.17104/0017-1417_2012_7_577.

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Katz, Marilyn A. "Did the Women of Ancient Athens Attend the Theater in the Eighteenth Century?" Classical Philology 93, no. 2 (April 1998): 105–24. http://dx.doi.org/10.1086/449382.

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Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk, and А. V. Namchuk. "DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.

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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.
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Kovacs, George. "Theater of the People: Spectators and Society in Ancient Athens by David Kawalko Roselli (review)." Theatre Journal 65, no. 1 (2013): 141–42. http://dx.doi.org/10.1353/tj.2013.0011.

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Sommerstein, Alan H. "(D.K.) Roselli Theater of the People: Spectators and Society in Ancient Athens. Austin: University of Texas Press. Pp. xii + 288. $55. 9780292723948." Journal of Hellenic Studies 132 (September 17, 2012): 181–82. http://dx.doi.org/10.1017/s0075426912000201.

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Carter, D. M. "Theater of the People: Spectators and Society in Ancient Athens. By David Kawalko Roselli. Austin: University of Texas Press, 2011. Pp. [xii] + 288." Classical Philology 108, no. 4 (October 2013): 352–56. http://dx.doi.org/10.1086/671789.

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Mitchell-Boyask, Robin. "Plague and theatre in ancient Athens." Lancet 373, no. 9661 (January 2009): 374–75. http://dx.doi.org/10.1016/s0140-6736(09)60123-9.

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Trubotchkin, Dmitry. "The Iliad in Theatre: Ancient and Modern Modes of Epic Performance." New Theatre Quarterly 30, no. 4 (October 21, 2014): 379–90. http://dx.doi.org/10.1017/s0266464x14000712.

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In this article Dmitry Trubotchkin focuses on Homer's Iliad as directed by Stathis Livathinos and premiered in Athens on 4 July 2013 as part of the Athens and Epidaurus Summer Festival – as far as is known, the first production of the complete Iliad in world theatre. It was performed by fifteen actors, each of whom played several roles and also acted the role of the ancient rhapsode, or narrator of epics. Livathinos's Iliad restored the original understanding of ‘epic theatre’, which differs from what is usually meant by this term in the light of Brechtian theory and practice with its didactic and distancing emphases. In the Greek performance, the transformation of an actor from one role to another and from acting to narration is constant, and the voice of Homer as a ‘collective author’ can be heard through all these transformations. Livathinos's Iliad may well be a landmark, indicating a new way of presenting epics on the stage. Dmitry Trubotchkin is Professor of Theatre Studies at the Russian University of Theatre Arts (GITIS) and an invited Professor at the Faculty of Arts of the Moscow State University. He heads the Department of Ancient and Medieval Art at the State Institute for Art Studies in Moscow. His publications include ‘All is Well, the Old Man is Still Dancing’: Roman Palliata in Action (2005), Ancient Literature and Dramaturgy (2010), and Rimas Tuminas: the Moscow Productions (forthcoming).
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Bosher, †Kathryn. "Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily." Ramus 42, no. 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.

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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining plays not simply as literary works, but as integral parts of social and political systems, remains a useful method of inquiry. Indeed, one strand of useful research may build on the work that has been done to situate Greek drama in Athens to ask similar questions about theatre outside Athens.In the case of South Italy and Sicily, the problem is particularly pressing. This is not only because of the traditional separation between the fields of philology, epigraphy, history, archaeology, art history and political science, which made comprehensive examination of theatre as a social and political phenomenon difficult in Athens, but also because of competing histories of the development of theatre in the ancient Greek world. In particular, the history of Athenian theatre, both from the literary perspective and now from the socio-political perspective, is so dominant that it often incorporates into its own narrative what evidence there is for theatre outside Attica. Likewise, from the later period, Roman theatre includes the evidence from Sicily and South Italy into its own history, though to a lesser extent. Nothing to Do with Dionysos? may nevertheless serve as a model for the development of a vital, and still missing, perspective on the theatrical evidence that remains from the West. How did drama and the theatre fit into the socio-political contexts of Greek cities outside Attica? Is it possible to write the history of Sicilian and South Italian theatre, or were these new world cities only recipients of the Attic theatre and stepping stones to that of Rome?I attempt below to set out a few of the questions that, I think, frame the debate. This is a preliminary, tentative examination of some of the problems that arise in this field, and it is not in any way exhaustive.
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Dissertations / Theses on the topic "Ancient athens theater"

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Costa, Natalie. "Ridicule reversed : the failure of aristophanes' mockery and its ironic inspiration." Honors in the Major Thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1385.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
English Literature
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Books on the topic "Ancient athens theater"

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Sewell, Richard C. In the theatre of Dionysos: Democracy and tragedy in ancient Athens. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2007.

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Theater outside Athens: Drama in Greek Sicily and south Italy. Cambridge: Cambridge University Press, 2012.

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Acropolis: Ancient and Roman Agora, Pnyx, Philopappus Hill, Hadrian's Library, Theatre of Dionysus, Odeion of Herodes Atticus, Acropolis Museum. Ahtens: Militos, 2010.

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La documentazione dei teatri antichi del Mediterraneo: Le attività del progetto ATHENA a Mérida = Documentation of Mediterranean ancient theatres : ATHENA's activities in Mérida. Roma: Gangemi editore, 2012.

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Spectator politics: Metatheatre and performance in Aristophanes. Philadelphia: University of Pennsylvania Press, 2002.

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Roselli, David Kawalko. Theater of the People: Spectators and Society in Ancient Athens. University of Texas Press, 2012.

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In the Theatre of Dionysos: Democracy and Tragedy in Ancient Athens. McFarland & Company, 2007.

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Hall, Edith. The Theatrical Cast of Athens: Interactions between Ancient Greek Drama and Society. Oxford University Press, USA, 2006.

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Powers, Melinda. Challenging the Stereotype of the ‘Disabled Veteran’ in Aquila’s A Female Philoctetes and Outside the Wire’s Ajax. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777359.003.0006.

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My final chapter considers a different type of minority community, US veterans. Although veterans today, particularly those with disabilities, are a minority population that comprises less than 1 per cent of the total population, in ancient Athens, veterans had a direct connection to ancient Greek drama, and the majority of the ancient playwrights and the audience would have had direct experience of combat. By focusing on Aquila Theatre’s A Female Philoctetes, and Outside the Wire’s Theater of War Ensemble’s reading of Sophocles’ Ajax, I explore the ways in which Greek drama can function to challenge the stereotype of the ‘disabled veteran’, but can also reinforce stereotypes about the members of this community, who struggle not only for equality but also with the process of reintegrating into civilian life.
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Fischer-Lichte, Erika. Epilogue. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199651634.003.0012.

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The book concludes with an epilogue entitled ‘The Return of Dionysus. From Festive Performances to Global Spectacle’. It very briefly retraces the exchange of productions of Greek tragedies between Germany and other countries and ends with the role played by productions of Greek tragedies today, at German as well as international theatre festivals, thus linking them back to the most important festival in ancient Athens, the Great Dionysia. After explaining how such festivals in Germany reassert the central position held by theatre in German culture, the epilogue ends with a short discussion of Jan Fabre’s twenty-four-hour performance Mount Olympus—to Glorify the Cult of Tragedy (Berliner Festspiele, June 2015) as an allegory of and a reflection on Greek tragedy’s endurance on the German stage.
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Book chapters on the topic "Ancient athens theater"

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"A Portrait of the Artist I: Theater-Realistic Art in Athens, 500-330 BC." In Actors and Icons of the Ancient Theater, 1–37. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318036.ch1.

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"The Politics of Privatization: A Short History of the Privatization of Drama from Classical Athens to Early Imperial Rome." In Actors and Icons of the Ancient Theater, 168–204. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444318036.ch6.

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