Relevant bibliographies by topics / Roman theaters

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Roman theaters'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Roman theaters"

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Jay, Jeff. "The Problem of the Theater in Early Judaism." Journal for the Study of Judaism 44, no. 2 (2013): 218–53. http://dx.doi.org/10.1163/15700631-12340373.

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Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.
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Goldberg, Sander M. "Theater without Theaters: Seeing Plays the Roman Way." TAPA 148, no. 1 (2018): 139–72. http://dx.doi.org/10.1353/apa.2018.0006.

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Boatwright, Mary T. "Theaters in the Roman Empire." Biblical Archaeologist 53, no. 4 (December 1990): 184–92. http://dx.doi.org/10.2307/3210163.

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Lynd-Porter, Adam, and Arthur Segal. "Theaters in Roman Palestine and Provincia Arabia." Journal of the American Oriental Society 116, no. 3 (July 1996): 599. http://dx.doi.org/10.2307/605221.

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Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.

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It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.
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Retzleff, Alexandra. "The Dresden Type Satyr-Hermaphrodite Group in Roman Theaters." American Journal of Archaeology 111, no. 3 (July 2007): 459–72. http://dx.doi.org/10.3764/aja.111.3.459.

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Farnetani, Andrea, Nicola Prodi, and Roberto Pompoli. "On the acoustics of ancient Greek and Roman theaters." Journal of the Acoustical Society of America 124, no. 3 (September 2008): 1557–67. http://dx.doi.org/10.1121/1.2951604.

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Gade, Anders Christian, and Konstantinos Angelakis. "Acoustics of ancient Greek and Roman theaters in use today." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3148. http://dx.doi.org/10.1121/1.4787803.

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Weiss, Zeev. "Actors and Theaters, Rabbis and Synagogues." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 271–79. http://dx.doi.org/10.30965/21967954-00802010.

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The paper discusses the opposition of the rabbis in late antique Palestine to Roman public spectacles and their intentional incorporation of references to the theater, hippodrome, and amphitheater, and their performances, into their sermons. By speaking about these very same issues in their sermons, the rabbis essentially, and perhaps deliberately, became actors in their own communal theater – the synagogue. Based on a careful reading of the literary sources, it is argued that with the ironic use of the same tools and props employed in the theater the rabbis not only sought to condemn public entertainment, including theatrical performances, but also urged their communities to shun this leisure activity in favor of other “spectacles” more conducive and appropriate to the religious realm.
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RICE, JOHN. "The Roman intermezzo and Sacchini's La contadina in corte." Cambridge Opera Journal 12, no. 2 (July 2000): 91–107. http://dx.doi.org/10.1017/s0954586700000914.

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The origins of the Roman intermezzo, an important and influential sub-genre of Italian comic opera, can be traced back to the 1730s, when the composer and librettist Benedetto Micheli wrote several two-part intermezzi for the Teatro Valle and other theaters in Rome for performance during the intermissions of spoken plays. The Valle cultivated the intermezzo with particular consistency during the next six decades, presenting works by many distinguished composers, including Sacchini, Paisiello, and Cimarosa. Sacchini's La contadina in corte, on a libretto derived from Giacomo Rust's three-act comic opera of the same title, may serve as a good example of the Roman intermezzo.
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Dissertations / Theses on the topic "Roman theaters"

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Pinto, Jorge Henrique Nunes. "Casamento, vida privada e comicidade à luz das comédias de Plauto e Gil Vicente." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=6269.

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O presente trabalho tem por objetivo o estudo crítico-teórico da comediografialatina pré-clássica e portuguesa humanista nas figuras de Plauto e Gil Vicente,considerando os aspectos relativos ao conceito de família, de casamento e de vidaprivada. Investigando as obras "" e "Comédia do Viúvo", realizamosAululariainicialmente um minucioso estudo da função e importância social destes conceitosnos contextos específicos da Roma Antiga, no período republicano, e de Portugal natransição da Idade Média para o Renascimento. Procedendo então a análises dasobras, à luz dos temas propostos, identificaremos como se expressam nodesenvolvimento temático no interior da encenação. A partir do conceito decomicidade e possíveis estratégias para sua obtenção fundamentadas em teóricoscomo Henri Bergson e Vladimir Propp, procuramos encontrar pontos deconvergência e divergência entre os tratamentos temáticos dos autores de modo aelucidar também a influência do modo de pensar social como elemento decisivo daexpressão literária. Tal estudo do elemento cômico será aprofundado tendo comoponto de partida trabalhos filosóficos e teóricos de Gilles Deleuze, Mikhail Bakhtin eFriedrich Nietzsche
The present paper aims to study Plautus pre-classical roman comediographyas well as Gil Vicentes in portuguese Humanism, considering the concepts of family,marriage and private life under critical and theoretical perspectives. Having"Aulularia" and "Comédia do Viúvo" as for our research, initially we started acorpusdetailed study of the social relevance of these concepts at Roman Republic and alsoat Portugal in the transition between the Middle Ages and Renaissance. Then,analyzing these works, we aim to identify how these concepts and themes aredeveloped in the plot. Based on the concept of comicality and possible strategies toobtain it of Henri Bergson and Vladimir Propp, we intend to determine thecomediographers converging and diverging approaches while developing thesetopics, also elucidating the influence of social way of thinking in literary expression.These comicality study will be developed based on the philosophical and theoreticalworks of Gilles Deleuze, Mikhail Bakhtin and Friedrich Nietzsche
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Lee, Allison Nicole. "The Greco-Roman Water Catchment Theater: Identification and Distribution." BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4435.

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Water has always been a necessity for human beings. How individuals and populations have reacted to, adapted, and manipulated water is apparent in the archaeological record. Ancient urban water systems often utilized a number of components, including aqueducts, siphons, underground tunneling, and cisterns. This thesis proposes that Greco-Roman theaters were utilized as components of ancient urban water systems in specific environments, and that this theater type may be identified in the archaeological and literary record as a water catchment theater. The goal of my thesis was to define, describe, identify, and plot the distribution of water catchment theaters in order to compare their distribution with the environments where they were found. Previous research on Greco-Roman theaters has not focused on theaters as components of ancient urban water systems. Because of this deficiency, it was necessary to define what water catchment theaters were, describe the architectural traits that were found in water catchment theaters, and finally, using this information, identify water catchment theaters and look at their distribution throughout the Greco-Roman world. To meet my objective I created a new typology of water theaters based on extensive research and on-site visits to 30 theaters in five countries, surveyed and classified the 927 theaters found in Frank Sear's Roman Theatres: An Architectural Study, and plotted the distribution of water catchment theaters in relation to space, time, and climate. My study gives new insight into the uses of Greco-Roman theaters but also introduces new methods to examine these ancient buildings with relation to their potential roles in urban water systems.
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Raith, Markus. "Erzähltes Theater : szenische Illusionen im europäischen Roman des 19. und frühen 20. Jahrhunderts /." Tübingen : Niemeyer, 2004. http://catalogue.bnf.fr/ark:/12148/cb39138969s.

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Raabe, Ashleigh W. Sturgeon Mary C. "Imagining Roman-ness a study of the theater reliefs at Sabratha /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,885.

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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2007.
Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art." Discipline: Art; Department/School: Art.
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Mitens, Karina. "The Roman Theatre and its 'reappearance' in the Italian Renaissance." Thesis, Royal Holloway, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299462.

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Bungard, Christopher William. "Playing with Your Role in Plautine Theater." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1211552932.

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Tsakoumaki, Marilena Chrysoula. "Monumental theatres of the Peloponnese in the Hellenistic and Roman periods : a comparative study." Thesis, King's College London (University of London), 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580690.

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This research forms a regional study of the theatres of the Peloponnese in the Hellenistic and Roman Periods. It includes a Catalogue of all 29 monuments discussed with appended bibliography and separate chapters on each section of the theatre analyzed. More specifically, after an overall presentation of the methods of design used in the theatres of the Peloponnese, the elements of the theatre are examined in each section. The study concludes with the Reconstruction of the Deus ex Machina in the theatre of Phlious. The aim of the research is to present a detailed image of the theatres in the periods discussed, with the purpose of resolving problems related to the architecture of the monuments, with the aim of assessing the development of the theatre building in this area from the fourth century BC up to the end of the fourth century AD.
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Letellier, Éloise. "Le théâtre dans la ville : recherches sur l’insertion urbaine des théâtres romains." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3034.

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Les théâtres romains, dont on peut observer les vestiges dans de très nombreuses villes tout autour de la Méditerranée, sont des objets familiers et pourtant souvent encore mal connus. Ils n’ont bénéficié que de rares études synthétiques. Inspiré par les recherches menées sur les théâtres et autres édifices de spectacles des époques plus récentes, ce travail porte un regard résolument urbain sur des édifices polyvalents caractéristiques de l’urbanitas : à la fois lieux de spectacles, de vie quotidienne et de cérémonies, lieux de rassemblements civiques et religieux, lieux de mixité sociale. Les innovations architecturales apportées par les Romains à la forme théâtrale inventée par les Grecs leur permettaient en effet de déterminer plus librement la place des théâtres dans leurs villes et de les intégrer à des programmes urbains concertés et signifiants. En confrontant l’analyse des représentations antiques - figurées ou littéraires - des théâtres romains et quelques études de cas archéologiques approfondies, l’objectif était d’explorer et de clarifier l’ensemble des liens qui pouvaient se nouer entre le théâtre et la ville à l’époque romaine, des plus matériels aux plus symboliques. La multiplication des échelles d’approche et l’attention portée à l’insertion dynamique et subjective des théâtres dans les paysages urbains les fait apparaître comme des objets à la fois typiques et singuliers, complexes et immédiatement lisibles et pour finir remarquablement efficaces dans la composition et l’incarnation de l’image des villes
The vestiges of Roman theatres are ubiquitous throughout the Mediterranean Basin; these structures are familiar, yet remain relatively unexplored, with only a few studies considering their general place in Roman life. Inspired by research on the theatres and entertainment buildings of more recent times, this study offers an urbanistic perspective on these multipurpose edifices; characteristic of the urbanitas, these were at the same time buildings for theatrical performances, ritual ceremonies, and daily activities; civic and religious meeting places; centres of social interaction. The innovations the Romans made to the architectural theatrical form invented by the Greeks enabled them to redefine the theatre’s place in the city and to incorporate it purposefully into their plans for urbanization. Combining the analysis of ancient textual and pictoral representations of Roman theatres with archaeological case studies, this thesis explores and clarifies the practical and symbolic relationships between the theatre and the city in Roman times. By broadening the scope of investigation and by exploring the dynamic and affective positioning of the theatre into the Roman urban landscape, this thesis reveals these architectural structures to be simultaneously typical and unique, complex and understandable, and ultimately remarkably effective in establishing and embodying the image of the city
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Baret, Florian. "Les agglomérations "secondaires" gallo-romaines dans le Massif Central : (cités des arvernes, vellaves, gabales, rutenes, cadurques et lémovices), 1er siècle avant J.-C. - Ve siècle après J.-C." Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20003/document.

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Parmi les formes d’organisation de l’habitat antique, il en est une qui est longtemps restée en retrait dans la recherche archéologique française. Les agglomérations antiques, qui correspondent à des formes très variées d’habitat groupé, suscitent un intérêt majeur depuis une vingtaine d’années.L’étude historiographique, à l’échelle de la Gaule, fait ressortir un espace en marge des recherches, celui des cités du Massif central. Cette thèse propose donc d’étudier les agglomérations antiques des cités arverne, vellave, gabale, rutène, cadurque et lémovice entre le Ier s. av. J.-C. et le Ve s. ap. J.-C. Les objectifs sont multiples. Il a été nécessaire dans un premier temps d’établir un corpus de sites à partir de la bibliographie régionale. Celui-ci est composé de notices normalisées au sein desquelles l’ensemble des données actuellement disponibles a été présenté. Pour répondre aux questions d’organisation spatiale et de classification, les données bibliographiques recueillies, complétées par des opérations de terrain (prospections terrestres, aériennes, géophysiques, relevés topographiques), ont été synthétisées à partir d’une série de descripteurs archéologiques développés sur le modèle d’Archaeomedes. L’emploi de ces descripteurs a permis la mise en œuvre d’analyses statistiques multivariées afin de dépasser le simple classement par niveaux de fiabilité (sites rejetés, agglomérations hypothétiques, agglomérations avérées). C’est sur la base de la classification retenue après différents tests et sur la hiérarchie urbaine proposée que les analyses spatiales et morphologiques permettent de brosser un tableau complet de l’armature urbaine des cités antiques du Massif central.Les résultats obtenus ont permis d’exposer et de comprendre à la fois les relations entre les agglomérations et le milieu naturel mais aussi avec leur environnement archéologique par l’étude de leurs relations avec l’habitat rural, les chefs-lieux, les limites des cités, leur territoire théorique, les axes de communications terrestres et fluviaux. En changeant d’échelle, l’analyse interne des agglomérations permet d’appréhender à la fois leur morphologie générale mais aussi la place des édifices monumentaux au sein des agglomérations et au sein des cités, le rôle de l’artisanat, les aménagements hydrauliques, … Pour l’analyse de l’armature urbaine, la thèse prend nécessairement en compte l’évolution chronologique des agglomérations à travers leur origine protohistorique, leur évolution durant l’Antiquité et leur devenir au début du Moyen Âge.Pour mener à bien ce travail, il a été nécessaire de croiser les approches documentaires (bibliographie, opérations de terrains), de croiser les échelles d’analyse (du site au Massif central) et de comparer les résultats à ceux des régions voisines. Passées, les analyses statistiques, c’est à partir d’un SIG et d’une base de données que l’ensemble des synthèses a pu être mené.Cette thèse constitue la première synthèse sur les agglomérations antiques des cités du Massif central. Les résultats mettent en avant l’importance des agglomérations dans le système de peuplement et des armatures urbaines variables entre les cités mais qui semblent structurées en partie par le relief et les axes de communications. Les fonctions présentes au sein des agglomérations, si elles sont variées et récurrentes, montrent des spécificités entre les cités mais aussi une hétérogénéité au sein de chacune d’elles. Enfin, l’analyse chronologique montre une réduction du nombre des agglomérations à partir du IIIe siècle mais pas leur disparition. De même, de nouvelles formes d’habitats groupés apparaissent à partir du IVe siècle attestant non pas une crise mais une évolution dans l’organisation urbaine des cités pour répondre à de nouveaux besoins
Among the forms of organization one can observe in the ancient habitat, there is one particular structure that has been slightly ignored by French archeologists: the lesser urbanized settlements. However, in the last twenty years, small towns have attracted renewed interest.A historiographical study of the Gaul territory highlighted a less studied group of population: the ancient peoples of the Massif Central. In this thesis we intend to have a closer look at such populations as the Arvernes, the Vellaves, the Gabales, the Rutenes, the Cadurques, and the Lemovices from 1st century B.C. - 5th century A.D. We first established a corpus of sites starting with the study of the regional bibliography, which enabled us to create records for each area. We completed this first approach with several field operations such as ground, aerial, geophysical and topographical surveys. All those data were synthesized in a series of archaeological descriptors developed using the Archaeomedes model.The use of such descriptors enabled us to develop some statistical analyses and go beyond the simple reliability factor (which allows the distinction between rejected sites, hypothetical and true urbanized clusters). On the basis of our tested and proven classification, keeping in mind the suggested urban hierarchy and with the help of our spatial and morphological analyses, we were able to obtain a more complete picture of the urban framework of the ancient cities of the Massif Central.The data collected allowed us to better apprehend and understand the relation between such urban clusters and their natural environment, but also to place them in an archaeological context by studying the links between rural housing, the ancient administrative structure (chef-lieu), the city and territory limits, and the major communication routes (land and water). Through a multi-scale study of those population clusters, we were able to determine their general structure, to look at the role of local crafts and trade but also the place of major buildings, and waterworks. We took specific care to the chronological evolution in thosesmall towns by looking at them from their protohistoric beginnings through Antiquity and until early medieval times.While we cross-referenced all the different sources (bibliography and field surveys) and the analysis scales within the Massif Central, we also did a cross-comparison with other neighboring areas in order to validate such work. Besides the statistical data, we used the Geographic Information System and our database to reach our conclusions.This thesis aims at uncovering the reality of those ancient population clusters present in the Massif Central. Our results showed clearly the importance of those in the settlement system, their different forms structured according to the local geography and major trade routes. The functions/positions available in small towns were varied and recurrent but also corresponded to specific trades within each structure while remaining homogeneous.Through our chronological analysis we were able to point out a significant reduction in their numbers starting in the third century, though not their disappearing. In the 4th century new types of population clusters appeared, not as a response to an acute crisis, but more as a result of an evolution called on by new needs
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Betteridge-Fuchs, Annette. "Approches du théâtre sud-africain." Nice, 1989. http://www.theses.fr/1989NICE2010.

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Cette thèse est composée de différents travaux faits entre 1974 et 1989. Présentés déja, pour la plupart, sous forme de communications orales lors de colloques et congrés, ou écrits, publiés ou sous presse, ces travaux s'organisent autour d'un axe central : le théâtre en Afrique du Sud. Notre intérêt s'est progressivement porté sur le théâtre sud-africain à travers deux préoccupations : une enquête sur le théâtre en situation de crise politique et sociale à différentes époques et, suscitée par une curiosité pour la littérature de l'apartheid, une étude du roman en Afrique du Sud. Pour aborder le sujet principal, il a fallu tenter une mise en perspective de divers éléments, puis faire ressortir la spécifité de ce théâtre "en situation". Partie quatre mois étudier sur place, il nous a paru pertinent de rendre compte de cette visite en Afrique du Sud, ainsi que des divers mouvements de boycottage culturel qui affectent la réception de ce théâtre en Europe. Pour terminer, notre troisième partie prétend à un approfondissement à travers un travail sur le market théâtre, Johannesburg. La conclusion pose la question de savoir dans quelle mesure les "cultures-brokers" exercent une nouvelle hégémonie blanche
The thesis is composed of various studies dating from 1974 to 1989. Most of this worl has already been presented in the form of conference papers or publications. The main concern is with different approaches to the theatre in South Africa South african theater gradually became our principal object of study vi atwo apparently unrelated issues : a general enquiry into the theater in times of political and social conflict at different periods and, stemming from a curiosity for the literature of apartheid, preliminary studies of the south african novel. We research the main subject by trying to see the different aspects and ethnic divisions in perspective and then by looking for the specificity of south african theatrical performance. Having spent four months doing research in South Africa,it appaeared a good idea to give an account of this visit as well as oft he cultural boycott which affects the reception of south african theatre in Europe. The last and third part of this work attempts a study in depth of the market theatre, Johannesburg. The conclusion deals with the question of whether and to what extent the new culture-brokers are a continuation of white hegemony
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Books on the topic "Roman theaters"

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Niffeler, Urs. Römisches Lenzburg: Vicus und Theater. Brugg: Gesellschaft Pro Vindonissa, 1988.

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Herold, Marianne. Roman Clemens. Zürich: ABC Verlag, 1991.

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Architettura e romanizzazione della Sicilia di età imperiale: Gli edifici per spettacoli. Palermo: Officina di studi medievali, 2012.

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Tempel- und Theaterbau in den Tres Galliae und den germanischen Provinzen: Ausgewählte Aspekte. Rahden/Westf: Leidorf, 2002.

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Bejor, Giorgio. Le statue. Roma: Bretschneider, 1991.

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Arthur, Segal. Theatres in Roman Palestine and Provincia Arabia. Leiden: E.J. Brill, 1995.

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Ortalli, Jacopo. Il teatro romano di Bologna. Bologna: Presso la Deputazione di storia patria, 1986.

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Janakievski, Tome. Teatar. Bitola: Zavod za zaštita na spomenicite na kulturata, prirodnite retkosti, 1987.

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Arthur, Segal. Teʾaṭron ṿe-teʾaṭraʾot be-Erets-Yiśraʾel be-ʻet ha-ʻatiḳah. [Haifa]: Universiṭat Ḥefah, Muzeʾon Reʾuven ṿe-ʻIdit Hekhṭ, 1991.

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Roofed theaters of classical antiquity. New Haven: Yale University Press, 1992.

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Book chapters on the topic "Roman theaters"

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Coenen-Mennemeier, Brigitta. "Nouveau Roman und Theater." In Nouveau Roman, 137–49. Stuttgart: J.B. Metzler, 1996. http://dx.doi.org/10.1007/978-3-476-03992-7_4.

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Amine, Khalid, and Marvin Carlson. "The Roman Maghreb." In The Theatres of Morocco, Algeria and Tunisia, 9–15. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230358515_2.

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Bauer, Matthias. "Der Semipikareske Roman Oder: Erzählkunst und Theater." In Im Fuchsbau der Geschichten, 100–149. Stuttgart: J.B. Metzler, 1993. http://dx.doi.org/10.1007/978-3-476-03492-2_4.

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Kuznicka, Danuta. "Ingarden on the Theatre." In On the Aesthetics of Roman Ingarden, 283–96. Dordrecht: Springer Netherlands, 1989. http://dx.doi.org/10.1007/978-94-009-2257-0_11.

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Moore, Timothy J. "Ludic Music in Ancient Greek and Roman Theater." In Ludics, 181–211. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7435-1_9.

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Dox, Donnalee. "Roman Theatre and Roman Rite: Twelfth-Century Transformations in Allegory, Ritual, and the Idea of Theatre." In The Appearances of Medieval Rituals, 33–48. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.disput-eb.3.1669.

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Bogar, Thomas A. "“The Noblest Roman of Them All”." In Thomas Hamblin and the Bowery Theatre, 237–57. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-68406-2_12.

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Pizzato, Mark. "Greco-Roman Beginnings of “Theatre” (as Theatron/Theatrum)." In Mapping Global Theatre Histories, 43–70. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12727-5_3.

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Pizzato, Mark. "Ancient Specters (Prehistoric, Egyptian, Greek, and Roman)." In Ghosts of Theatre and Cinema in the Brain, 27–53. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983299_3.

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Pizzato, Mark. "Shakespeare’s Roman Shades (Titus Andronicus and Titus)." In Ghosts of Theatre and Cinema in the Brain, 67–96. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403983299_5.

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Conference papers on the topic "Roman theaters"

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Iannace, Gino, and Umberto Berardi. "Acoustic virtual reconstruction of the Roman theater of Posillipo, Naples." In 173rd Meeting of Acoustical Society of America and 8th Forum Acusticum. Acoustical Society of America, 2017. http://dx.doi.org/10.1121/2.0000607.

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Gabellone, Francesco, Daniele Malfitana, Giuseppe Cacciaguerra, Ivan Ferrari, Francesco Giuri, and Claudia Pantellaro. "CRITICAL READING OF SURVIVING STRUCTURES STARTING FROM OLD STUDIES FOR NEW RECONSTRUCTIVE PROPOSAL OF THE ROMAN THEATRE OF CATANIA." In ARQUEOLÓGICA 2.0 - 8th International Congress on Archaeology, Computer Graphics, Cultural Heritage and Innovation. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/arqueologica8.2016.3556.

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The Graeco-Roman theatre of Catania stands in the heart of the historic centre, on the south-eastern slopes of the hill of Montevergine. The building visible today was built during the Julio-Claudian period as part of a programme that saw the rebuilding of the monument, which probably used structures and materials from the earlier Greek theatre. The work undertaken over more than fifty years, involving expropriation, demolition, excavation, and restoration, has, on the whole, made it possible to bring to light the surviving parts of the theatre, improving the comprehension of this monument, despite the fact that some sectors have been irreparably compromised.
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Aktüre, Z. "Permanencies: a contextual typology of Roman theatre interventions in Iberian Peninsula." In REHAB 2014 - International Conference on Preservation, Maintenance and Rehabilitation of Historical Buildings and Structures. Green Lines Institute for Sustainable Development, 2014. http://dx.doi.org/10.14575/gl/rehab2014/122.

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Lu, David V., and William D. Smart. "Human-robot interactions as theatre." In 2011 RO-MAN: The 20th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2011. http://dx.doi.org/10.1109/roman.2011.6005241.

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Ismail, Salah. "The Hidden Heritage of Ankara Citadel: an Ambigous Future between Conservation and Transformation." In INTERNATIONAL CONFERENCE ON ARCHITECTURAL AND CIVIL ENGINEERING 2020. Cihan University-Erbil, 2021. http://dx.doi.org/10.24086/aces2020/paper.223.

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Although Ankara gained international attention mainly after its declaration as Capital of the Turkish Republic in 1923, the city hosts many buildings and monuments from different historical eras. The remains of Roman, Byzantine, Seljuk and Ottoman Empires discovered in the center of the city, clearly bear witness to the rich and diverse heritage of the capital. However, this heritage appears as less documented, studied and even not properly conserved. The citadel of Ankara, which dominates the narrow streets of the old city has withstood its long history very well and today houses a small neighborhood made up of valuable Ottoman wooden buildings. The link to the Roman and Medieval periods is still tangible. The Roman theatre remains at the foot of the hill are still observable, while the stone columns and beams used in the construction of the walls in a later era. The aim of this paper is to document and present the different historical eras of the castle, focusing on the remains of the medieval era. Analyzing the key features of the castle and the previous intervention on it will support the identification of the potentials of the site. Finally, recommendations for future work of architectural preservation will be elaborated on the basis of national and international conservation guidelines.
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Mavridis, Nikolaos, and David Hanson. "The IbnSina interactive theater: Where humans, robots and virtual characters meet." In RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2009. http://dx.doi.org/10.1109/roman.2009.5326144.

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Mavridis, Nikolaos, and David Hanson. "The IbnSina Center: An augmented reality theater with intelligent robotic and virtual characters." In RO-MAN 2009 - The 18th IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2009. http://dx.doi.org/10.1109/roman.2009.5326148.

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Ogawa, Kohei, Takenobu Chikaraishi, Yuichiro Yoshikawa, Shogo Nishiguchi, Oriza Hirata, and Hiroshi Ishiguro. "Designing robot behavior in conversations based on contemporary colloquial theatre theory." In 2014 RO-MAN: The 23rd IEEE International Symposium on Robot and Human Interactive Communication. IEEE, 2014. http://dx.doi.org/10.1109/roman.2014.6926248.

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Walters, Michael L., Kheng Lee Koay, Dag Sverre Syrdal, Anne Campbell, and Kerstin Dautenhahn. "Companion robots for elderly people: Using theatre to investigate potential users' views." In 2013 IEEE International Symposium on Robot and Human Interactive Communication (RO-MAN). IEEE, 2013. http://dx.doi.org/10.1109/roman.2013.6628393.

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Mesisca, Antonio, Lorenzo Lazzarini, Stefano Cancelliere, and Monica Salvadori. "Study and Archeometric Analysis of the Marble Elements Found in the Roman Theater at Aeclanum (Mirabella Eclano, Avellino - Italy)." In XI International Conference of ASMOSIA. University of Split, Arts Academy in Split; University of Split, Faculty of Civil Engineering, Architecture and Geodesy, 2018. http://dx.doi.org/10.31534/xi.asmosia.2015/02.09.

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