Relevant bibliographies by topics / The ancient theater of Ephesus

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Academic literature on the topic 'The ancient theater of Ephesus'

Author: Grafiati
Published: 7 June 2025
Last updated: 26 June 2025

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Journal articles on the topic "The ancient theater of Ephesus"

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Yılmaz, Birce, and Leyla Suri. "Evaluation of Restoration Interventions in the Ancient Theater of Ephesus in Terms of National and International Conservation Principles." Journal of Protected Areas Research 3, no. 2 (2024): 141–54. https://doi.org/10.5281/zenodo.14544357.

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<strong>Evaluation of Restoration Interventions in the Ancient Theater of Ephesus in Terms of National and International Conservation Principles</strong> <strong>Abstract&nbsp;&nbsp;&nbsp; </strong><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</strong> <em>Theaters, which can be integrated into contemporary life without altering their original construction purposes, are cultural heritages of documentary nature. International platforms established rules for their use for events and conservation of cultural traces they possess. The preservation and restoration efforts in theaters, aimed at bringing them back into modern life, have evolved over time, reflecting shifts in techniques and approaches from past to present.The study aims to emphasize why and how changing restoration techniques have been used in the theaters&rsquo; integration into contemporary life and to evaluate restoration works conducted over years on these monuments in the context of national and international conservation legislation. The scope was determined as the Ancient Theater of Ephesus, where the first restoration works began with the Ephesus Festival organized in 1968, and continued subsequently for tourism-related events. A literature review covering the national and international statues, laws was conducted to examine the changing restoration works over time, and findings from on-site observations were conveyed through plans and photographs.</em> <strong><em>Keywords: </em></strong><em>Contemporary use</em><em>, the ancient theater of Ephesus, conservation and restoration.</em> <strong>Efes Antik Tiyatrosu&rsquo;ndaki Restorasyon M&uuml;dahalelerinin Ulusal ve Uluslararası Koruma İlkeleri Bağlamında Değerlendirilmesi</strong> <strong>&Ouml;z &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</strong> <em>Yapılış amacı değiştirilmeden &ccedil;ağdaş yaşama katılabilen tiyatrolar, taşıdıkları k&uuml;lt&uuml;rel izlerle belgesel nitelikteki miraslardır. Tiyatroların etkinlikler i&ccedil;in kullanımı ve taşıdıkları k&uuml;lt&uuml;rel izlerin korunması i&ccedil;in uluslararası platformlarda altı &ccedil;izili kurallar belirlenmiştir. &Ccedil;alışmanın amacı, antik alanlarda zaman i&ccedil;erisinde değişen restorasyon tekniklerinin tiyatroların &ccedil;ağdaş yaşama katılma s&uuml;re&ccedil;lerinde nedenli ve nasıl ele alındığını vurgulamaktır.&Ccedil;alışmanın hedefi ise bu anıt eserlerde yıllara s&acirc;ri yapılan restorasyon &ccedil;alışmalarının ulusal ve uluslararası koruma mevzuatları bağlamında değerlendirilmesidir. &Ccedil;alışmanın kapsamı, 1968&rsquo;de d&uuml;zenlenen Efes Festivali ile birlikte ilk restorasyon &ccedil;alışmaları yapılan, sonraki yıllarda turizm ama&ccedil;lı etkinlikler i&ccedil;in tekrar restorasyon &ccedil;alışmaları s&uuml;rd&uuml;r&uuml;len Efes Antik Tiyatro&rsquo;su olarak belirlenmiştir. Zamanla değişen restorasyon &ccedil;alışmalarını incelemek amacıyla ulusal ve uluslararası alanlardaki t&uuml;z&uuml;kleri ve yasaları kapsayan literat&uuml;r araştırması yapılmış, yerinde yapılan g&ouml;zlemlerle edinilen bulgular planlar ve fotoğraflar &uuml;zerinden aktarılmıştır.</em> <strong><em>Anahtar kelime</em></strong><strong><em>ler:</em></strong> <em>&Ccedil;ağdaş kullanım, Efes Antik Tiyatro, koruma ve onarım, restorasyon.</em>
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Capelle, Jeanne. "Le « Nouveau théâtre » : une nouvelle inscription de Magnésie du Méandre." Revue des Études Grecques 134, no. 2 (2021): 413–62. http://dx.doi.org/10.3406/reg.2021.8711.

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This paper presents a new inscription from Magnesia on the Meander in honour of a stephanephorus who, among other things, financed the πεδάλιον of the ‘ new theatre’ around the middle of the 2nd c. A. D. The extent to which the building in question, most probably the one O. Bingöl published as “ theatron”, may have constituted a new theatre in relation to the first is examined. It turns out that the so-called theatron is a proper theatre of the Greek type ; with its plan derived from that of the neighbouring theatre of Miletus, it is even a rare example of architectural imitation. Its construction, suspended after having been started ex nihilo, which is exceptional in Asia Minor, gives us the uncluttered image of a new conception of the theatre that progressively developed in the Imperial period through the renovation of ancient buildings in the region. This novelty combined morphological evolution, adaptation to new uses, but also linguistic creativity, πεδάλιον corresponding to the Latin podium. That the “ new theatre”, despite the ambition of the Magnetians, was left unfinished by them, can be understood in the context of the urban and agonistic history of the city in the Imperial period, and more broadly in the context of the unprecedented construction and festival boom in the great Ionian cities of Smyrna, Ephesus and Miletus.
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Ziesel, Wolfdietrich. "Protective Structure for Ancient Ruins at Ephesus, Turkey." Structural Engineering International 10, no. 4 (2000): 235–37. http://dx.doi.org/10.2749/101686600780481400.

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Guralnick, Eleanor. "A Bibliography of Ancient Ephesus. Richard E. Oster." Journal of Near Eastern Studies 50, no. 2 (1991): 160. http://dx.doi.org/10.1086/373497.

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Natali, Carlo. "Un passo di Michele di Efeso e l’origine del commento composito all’Etica Nicomachea." Elenchos 45, no. 2 (2024): 331–39. https://doi.org/10.1515/elen-2024-0017.

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Abstract A passage from Michael of Ephesus’ Commentary on the Nicomachean Ethics, book V (p. 50, 6–10 Hayduck), gives some information on the Anonymous Commentary on the Nicomachean Ethics, books II–IV. Michael cites a series of ancient annotations to the third book, written by ancient exegetes and which have come down to him. It can therefore be assumed that Michael had the Anonymous Commentary in front of him when he wrote these lines. It is thus possible to assume that it was Michael of Ephesus himself who organised the entire commentary on the Nicomachean Ethics and inserted the Anonymous Commentary on Books II-IV after Eustratius’ commentary on Book I and before his own commentary on Book V.
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Portefaix, Lilian. "Ancient Ephesus: Processions as Media of Religious and Secular Propaganda." Scripta Instituti Donneriani Aboensis 15 (January 1, 1993): 195–210. http://dx.doi.org/10.30674/scripta.67212.

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The significance of religious rituals often reaches beyond their strict religious intentions. Specifically a procession, performed in front of the public, is a most effective instrument of disseminating a message to the crowds. Consequently, this ritual, as is well known, has often been used not only in religious but also in secular contexts; a procession under the cloak of religion can even become a politically useful medium to avoid popular disturbances on peaceful terms. This was the case in ancient Ephesus, where Roman power conflicted with Greek culture from the middle of the first century B.C. onwards. In the beginning of the second century A.D. the public religious life in the city of Ephesus was to a great extent characterized by processions relating to the cult of Artemis Ephesia. The one traditionally performed on the birthday of the goddess called to mind the Greek origin of the city; it was strictly associated with the religious sphere bringing about a close relationship between the goddess and her adherents. The other, artificially created by a Roman, was entirely secular, and spread its message every fortnight in the streets of Ephesus. It referred to the political field of action and intended to strengthen the Roman rule over the city. The Greek origin of Ephesian culture was later included in the message of the procession, reminding the Greeks not to rebel against Roman rule.
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Ryan, Garrett. "Street Theater: Building Monumental Avenues in Roman Ephesus and Renaissance Florence." Comparative Studies in Society and History 61, no. 1 (2018): 82–110. http://dx.doi.org/10.1017/s0010417518000506.

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AbstractBetween the late first and the mid-third century CE, local elites in the eastern provinces of the Roman Empire lined the formerly utilitarian streets of their cities with honorific statues, colonnades, and ornamental buildings. The monumental avenues thus created have usually been interpreted as unplanned products of competitive munificence. This article, by contrast, suggests that the new streets had real political significance. It compares the monumental avenues of Roman Ephesus with a formal analogue from a better-documented historical context: the long, colonnaded courtyard of Florence's Uffizi complex, constructed by Duke Cosimo I in the mid-sixteenth century. Comparison with the Uffizi courtyard illuminates the prominence of “democratic” architectural conventions in Ephesian monumental avenues, the elite-centric vision of civic history implicit in their sculptural displays, and the degree to which public ceremonies reinforced their political messages.
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Candar, Esra, İbrahim Demirçubuk, and Gülgün Şengül. "Rufus of Ephesus: a historical perspective on his contributions to neuroanatomy." Anatomy 16, no. 1 (2022): 45–50. http://dx.doi.org/10.2399/ana.21.92153208.

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Rufus of Ephesus (circa 1–2 AD) lived in the ancient city of Ephesus, Izmir Province of Turkey. He made significant contributions to many branches of sciences including neuroanatomy. This historical perspective manuscript focuses mainly on his neuroanatomical contributions. He described several structures, such as the pericranium, meninges, encephalon, parencephalon, varicosities, and the anatomy of the sellar region and the eye. He also coined essential terms in the nervous system such as tunica prima (dura mater), tunica altera (pia mater), spinal marrow (spinal cord), base of brain (brainstem), and choroid tunic (choroid plexus). Because of the limited number of extant works, he is not as well-known as his contemporaries. Yet, Rufus of Ephesus deserves to be recognized to the fullest for his precious and numerous contributions to neuroanatomy.
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Rozin, Vadim Markovich. "Transformation of the theater: ancient and New European theater, director's theater of the XX century, theater of "social changes"." Культура и искусство, no. 7 (July 2022): 96–114. http://dx.doi.org/10.7256/2454-0625.2022.7.38420.

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The author connects the analysis of the formation of the ancient theater with the formation of art in ancient Greece, theatrical communication (including the positions of the author, artist and viewer), theater as a special space, awareness of the art and nature of ancient Greek drama in the "Poetics" of Aristotle. In the culture of modern times, the ancient canon of the theater is being established anew, since ancient Greek works are being reinterpreted from the point of view of the relationship to the medieval heritage and the social reality of the emerging new time. The new socio-cultural situation has predetermined three important consequences for the theater: firstly, the content of the stories written by playwrights is radically changing, secondly, the audience is changing, and thirdly, the rapid growth of theaters in emerging national states begins. These innovations are illustrated by the example of the French theater of the times of Louis XIV and Racine. In the second half of the XIX, the beginning of the XX century, the director's theater was formed. The director considers the artist as one of the "expressive means" along with others (music, scenery, theatrical clothing, symbols, etc.). The author suggests that the director's theater was influenced by the reflection of music. In the director's theater, the artist does not disappear, as Kugel claims, but on the contrary, he creates a tense field of meanings, communication and actions; while the artist on stage retains the original, coming from archaic times and religion, communication between the audience and the creators of works of art. The problems that arise in the director's theater are discussed on the example of the theatrical production "Eugene Onegin", which was carried out by Rimas Tuminas. In conclusion, the documentary theater and the theater of complicity are discussed. In both cases, the theater remains a theater: the performance is maintained by the actors' play, a second, full-fledged world of artistic reality is created, although the audience takes part in the constitution of what is happening, they, nevertheless, remain spectators at the same time, observing and experiencing events arising with their participation.
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Öziş, Ünal, Ayhan Atalay, and Yalçın Özdemir. "Hydraulic capacity of ancient water conveyance systems to Ephesus." Water Supply 14, no. 6 (2014): 1010–17. http://dx.doi.org/10.2166/ws.2014.055.

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Ephesus was supplied by several long-distance water conveyance systems in ancient times. The 8 km long Şirince water conveyance system consists of baked clay pipes, and had a hydraulic capacity of around 10 l/s. The 7 km long Derbentdere water conveyance system consists also of baked clay pipes; and its hydraulic capacity was around 20 l/s. The 36 km long Değirmendere water conveyance system is a masonry conduit; its hydraulic capacity was around 200 l/s. The 42 km long Kayapınar water conveyance was also a masonry conduit; its hydraulic capacity was around 100 l/s. The Şirince system was extended over to the Ayasuluk hill and Saint John basilica in the 6th century ad by the 650 m long Selcuk aqueduct, serving as the venter of an inverted siphon.
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Dissertations / Theses on the topic "The ancient theater of Ephesus"

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Abou-Aly, Amal Mohamed Abdullah. "The medical writings of Rufus of Ephesus." Thesis, Online version, 1992. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.246073.

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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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Slaughter, Megan Michelle. "The Hippocratic Corpus and Soranus of Ephesus: Discovering Men's Minds Through Women's Bodies." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3351.

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This thesis addresses what cultural influences and social circumstances shaped the works of the Hippocratic Corpus and Soranus's Gynecology. This thesis will illustrate how these medical texts are representative of how women were viewed by men in Classical Greece and Early Imperial Rome, respectively. It deals additionally with how these gynecological works in turn impacted the way in which society viewed and treated women. In particular, these medical writers' changing views of the act of conception shed light on the differing attitudes of their cultures. Thus far research on these time periods and works has focused too narrowly on one aspect of society to do them justice, nor has there been an effort to separate Soranus's work from the Hippocratic Corpus as representative of a completely different culture and time period. Scholarship has not before discussed the importance of who controls power over conception, men or women, as the key to understanding why women were treated they way they were by men. Using a feminist approach, this thesis examines the culture, mythology, literature, history, and medicine of these cultures, employing cultural morphology to understand how and why they changed. Greek men feared the women in their lives because they believed that women controlled conception. Roman men did not fear the women in their lives but respected them as mothers, for the important reason that women did not control or contribute to conception. All of the cultural evidence examined inclines one to believe that the way women were treated and viewed by men in the Classical period of Greece and the early Imperial period in Rome, is related directly to who held the power over conception of children, men or women.
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Gilfillan, Upton Bridget. "'For they were afraid....' : towards an aural hermeneutic for ancient popular texts; Speech Act readings of the endings of Xenophon of Ephesus; an Ephesian tale and the Gospel of Mark." Thesis, King's College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313896.

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Harrison-Snyder, Jill Elizabeth. "Pink Lines and Yellow Tables: A Production of Charles L. Mee's BIG LOVE." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/208821.

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Theater<br>M.F.A.<br>A dramatic analysis and directorial reflection on Temple Theaters' production of Charles L. Mee's BIG LOVE, a modern rendering of Aeschylus' THE SUPPLIANT WOMEN. This thesis explores the entire process of directing the production, from research and text analysis, to visual collaboration and rendering, to casting and rehearsal, to tech and production. Ultimately, it is the author's intention to reveal a specific directorial perspective of BIG LOVE and the corresponding creative process utilized to render this interpretation.<br>Temple University--Theses
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Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.

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Rainsberg, Bethany Rose Banister. "Rewriting the Greeks: The Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1274473610.

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Nobre, Milena. "Tecendo o universo feminino em Lisístrata: entre guerreiras divinas e mortais." www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/8660.

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NOBRE, Milena. Tecendo o universo feminino em Lisístrata: entre guerreiras divinas e mortais. 2013. 79f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2013<br>Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:07:00Z No. of bitstreams: 1 2013_dis_mnobre.pdf: 1052767 bytes, checksum: aaf81e874411616e1191b77fd2a4eb0c (MD5)<br>Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-08-08T17:37:43Z (GMT) No. of bitstreams: 1 2013_dis_mnobre.pdf: 1052767 bytes, checksum: aaf81e874411616e1191b77fd2a4eb0c (MD5)<br>Made available in DSpace on 2014-08-08T17:37:43Z (GMT). No. of bitstreams: 1 2013_dis_mnobre.pdf: 1052767 bytes, checksum: aaf81e874411616e1191b77fd2a4eb0c (MD5) Previous issue date: 2013<br>Our thesis aims to analyze the relationship between the divine and the human, political and sexual, as well as the relationships established between these plans and the dramatic text from the comedy skit Lysistrata, written by the Greek poet Aristophanes. It is due to show how textual and discursive elements are crucial for the development of the female characters who are opposed to the male characters, either by speech or symbolic images, since the ideal hero to the public administration of the city. It dialogues to some aspects of comic irony, such as the exaggeration and pun, to demonstrate how these elements work together as a discourse, which is an important characteristic for the composition of the part and which by women take the power of the city. We try to analyze the images related to the weave- spin that exemplifies the relationship between creating / narration, in order to demonstrate the feminine imagery that makes up the work. We used, as a guide for our research, the concepts of hero, arete, identity and imagination to confirm our thinking about the social and political aspects of women in ancient Greece. Among the theoretical underpinning our research are the classic reference works such as Homer and Hesiod , the studies of Vernant (1977, 2001) , Silva (1983, 2007), Brandão ( 1985, 1987 ) and POMPEU (1997, 2004).<br>A presente dissertação tem como objetivo analisar as relações entre os planos divino e humano, político e sexual, como também as relações que se estabelecem entre esses planos e o texto dramático, a partir da peça cômica Lisístrata, do poeta grego Aristófanes. Buscaremos mostrar como os elementos textuais e discursivos são preponderantes para a elaboração das personagens femininas que se contrapõem às personagens masculinas, seja através do discurso ou das imagens simbólicas, desde o ideal de herói até a administração pública da cidade. Abordaremos dentre alguns aspectos do cômico a ironia, o exagero, o trocadilho, buscando demonstrar como esses elementos colaboram como discurso, que constitui importante particularidade para a composição da peça e com o qual as mulheres tomam o poder da cidade. Analisaremos as imagens relacionadas ao tecer/ fiar que exemplificam a relação entre criar/narrar, para procurar comprovar o imaginário feminino que compõe a obra. Utilizaremos como norteadores de nossa investigação os conceitos de herói, areté, identidade e imaginário para confirmar nosso pensamento sobre os aspectos social e político da mulher na Grécia antiga. Dentre os teóricos que sustentam nossa pesquisa estão, além das obras de referência clássica como Homero e Hesíodo, os estudos de VERNANT (1977, 2001), SILVA (1983, 2007), BRANDÃO (1985, 1987) e POMPEU (1997, 2004).
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Lindsey, Renee J. "The Truth of Night in the Italian Baroque." UKnowledge, 2015. http://uknowledge.uky.edu/art_etds/10.

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In the sixteenth century, the nocturne genre developed in Italian art introducing the idea of a scene depicted in the darkness of night. This concept of darkness paired with intense light was adopted by Caravaggio in the late sixteenth century and popularized by himself and his followers. The seemingly sudden shift towards darkness and night is puzzling when viewed as individual occurrences in artists’ works. As an entire genre, the night scene bears cultural implications that indicate the level of influence culture and society have over artists and patrons. The rising popularity of the theater and the tension between Protestantism and Catholicism intersected to create a changing view on the perception of darkness and light. This merging of cultural phenomena affected Caravaggio and his contemporaries, prompting them to develop the nocturne genre to meet the growing demands for darker images.
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Nobre, Milena. "Weaving the feminine universe in Lysistrata: between divine and mortal warriors." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=11865.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior<br>Our thesis aims to analyze the relationship between the divine and the human, political and sexual, as well as the relationships established between these plans and the dramatic text from the comedy skit Lysistrata, written by the Greek poet Aristophanes. It is due to show how textual and discursive elements are crucial for the development of the female characters who are opposed to the male characters, either by speech or symbolic images, since the ideal hero to the public administration of the city. It dialogues to some aspects of comic irony, such as the exaggeration and pun, to demonstrate how these elements work together as a discourse, which is an important characteristic for the composition of the part and which by women take the power of the city. We try to analyze the images related to the weave- spin that exemplifies the relationship between creating / narration, in order to demonstrate the feminine imagery that makes up the work. We used, as a guide for our research, the concepts of hero, arete, identity and imagination to confirm our thinking about the social and political aspects of women in ancient Greece. Among the theoretical underpinning our research are the classic reference works such as Homer and Hesiod , the studies of Vernant (1977, 2001) , Silva (1983, 2007), BrandÃo ( 1985, 1987 ) and POMPEU (1997, 2004).<br>A presente dissertaÃÃo tem como objetivo analisar as relaÃÃes entre os planos divino e humano, polÃtico e sexual, como tambÃm as relaÃÃes que se estabelecem entre esses planos e o texto dramÃtico, a partir da peÃa cÃmica LisÃstrata, do poeta grego AristÃfanes. Buscaremos mostrar como os elementos textuais e discursivos sÃo preponderantes para a elaboraÃÃo das personagens femininas que se contrapÃem Ãs personagens masculinas, seja atravÃs do discurso ou das imagens simbÃlicas, desde o ideal de herÃi atà a administraÃÃo pÃblica da cidade. Abordaremos dentre alguns aspectos do cÃmico a ironia, o exagero, o trocadilho, buscando demonstrar como esses elementos colaboram como discurso, que constitui importante particularidade para a composiÃÃo da peÃa e com o qual as mulheres tomam o poder da cidade. Analisaremos as imagens relacionadas ao tecer/ fiar que exemplificam a relaÃÃo entre criar/narrar, para procurar comprovar o imaginÃrio feminino que compÃe a obra. Utilizaremos como norteadores de nossa investigaÃÃo os conceitos de herÃi, aretÃ, identidade e imaginÃrio para confirmar nosso pensamento sobre os aspectos social e polÃtico da mulher na GrÃcia antiga. Dentre os teÃricos que sustentam nossa pesquisa estÃo, alÃm das obras de referÃncia clÃssica como Homero e HesÃodo, os estudos de VERNANT (1977, 2001), SILVA (1983, 2007), BRANDÃO (1985, 1987) e POMPEU (1997, 2004).
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Books on the topic "The ancient theater of Ephesus"

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Müzesi, Efes. Ephesus Museum catalogue. Hitit Color, 1989.

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Höpken, Carl Fredrik, friherre von, 1713-1778 and Roos Paavo, eds. Beskrifning öfwer resan till Ephesus och Scalanova. Kungl. Humanistiska vetenskapssamfundet, 2007.

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1939-, Walton J. Michael, and J. Paul Getty Museum, eds. The art of ancient Greek theater. J. Paul Getty Museum, 2010.

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Saxena, Asha. Ancient Greek and Indian theatre. Parimal Publications, 1997.

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Csapo, Eric. Actors and icons of the ancient theater. Wiley-Blackwell, 2010.

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Bar-Nathan, Rachel. Baysān: The theater pottery workshop. Israel Antiquities Authority, 2011.

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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. ISP (International Sport Publications), 2004.

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Geōrgousopoulos, Kōstas. Epidaurus: The ancient theater and the performances. ISP (International Sport Publications), 2004.

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Chattopadhyay, Siddheswar. Theatre in ancient India. Manohar Publications, 1993.

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Ley, Graham. A short introduction to the ancient Greek theater. University of Chicago Press, 2007.

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Book chapters on the topic "The ancient theater of Ephesus"

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Proctor, Travis W. "The Environments of Late Ancient Ephesus." In Entire of Itself? The White Horse Press, 2024. http://dx.doi.org/10.3197/63831593227779.ch01.

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Gödde, Susanne. "Theater." In A Companion to the Archaeology of Religion in the Ancient World. John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118886809.ch25.

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Graverini, Luca. "Chapter 17. Tarsia nel lupanare." In The Reality of Women in the Universe of the Ancient Novel. John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/ivitra.40.17gra.

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A study on some aspects of female roles in ancient narrative. The topos of the “virgin in the brothel” is specifically analyzed, highlighting the differences and analogies between the anonymous Historia Apollonii Regis Tyri, Xenophon of Ephesus, and several other rhetorical and hagiographic sources. In the novel, the woman has usually a more active role, and more space is given to her emotions.
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Moore, Timothy J. "Ludic Music in Ancient Greek and Roman Theater." In Ludics. Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-15-7435-1_9.

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Safran, Meredith E. "Greek Tragedy as Theater in Screen-Media." In A Companion to Ancient Greece and Rome on Screen. John Wiley & Sons, Inc., 2017. http://dx.doi.org/10.1002/9781118741382.ch8.

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McGee, Brenda, and Debbie Keiser. "To Tell the Truth: Ancient Nubian Royalty." In Reader's Theater... and So Much More! Grades 5-6. Routledge, 2021. http://dx.doi.org/10.4324/9781003237556-20.

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Castellani, Victor. "Captive Captor Freed: The National Theater of Ancient Rome." In Griechisch-römische Komödie und Tragödie. J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-04216-3_4.

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Ioakeim, Nikos. "1. Iannis Xenakis’s Theater Studies." In Meta-Xenakis. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.03.

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It is widely recognized that Xenakis’s war experiences during the Occupation years in Athens were crucial for his later life and work. What is not known, however, is that, in addition to studying at the Polytechnic and participating in the Resistance, Xenakis also attended a singular drama school named ‘Theatriko Spoudastirio’ that was founded by the philologist, writer, and Shakespearean translator Vassilis Rotas (1889-1977). Prominent figures of Greek cultural life taught in this school, which also functioned as an undercover Resistance meeting point, since its students included hundreds of members of the United Panhellenic Youth Organization (EPON), the youth wing of the National Liberation Front (EAM), including Xenakis. As though putting the pieces of a puzzle together, this article attempts to bring to light Xenakis’s early theater studies through recently unearthed sources and the composer’s own rare references, and to also point out an elective affinity between Xenakis’s later treatment of ancient Greek tragedy and the ideas of his former teacher, Vassilis Rotas.
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Ford, Katherine. "What’s Old is New Again: Ancient Greek Theater Alive in the Spanish Caribbean." In The Theater of Revisions in the Hispanic Caribbean. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63381-7_3.

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Fant, Clyde E., and Mitchell G. Reddish. "Ephesus." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0032.

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Often crowded with tourists, Ephesus is a must-see stop on any itinerary through western Turkey. Few archaeological sites in Turkey are as impressive as Ephesus. The excavated and reconstructed buildings bear eloquent testimony to this important and grand city of ancient Asia Minor. Strolling the streets of Ephesus, past fountains, statues, monuments, temples, a great library, residences, the agora, and the theater, the modern visitor can easily imagine the ancient city thronged with crowds engaged in the various activities of their society. Ephesus is situated near the Aegean coast, east and slightly north of the island of Samos and approximately 40 miles south of Izmir. The modern city of Selçuk is located in the general area of ancient Ephesus. In antiquity Ephesus was a major port city situated on the Aegean coast. Over the years alluvial deposits from the Cayster River, which ran near the city, filled in the harbor, and as a result, the site of the city today lies approximately 5 miles inland from the coast. In addition, Ephesus was the beginning point for the main highway that ran from the Aegean coast to the eastern part of Anatolia, which along with its harbor allowed the city to flourish as a commercial and transportation center. According to the geographer Strabo, the earliest inhabitants of Ephesus were a group of peoples called Leleges and Carians. Sometime around 1100–1000 B.C.E., a group of Ionian Greek colonists, supposedly led by the legendary Athenian prince Androclus, established a Greek settlement at the base of the northern slope of Panayïr Daǧï (Mt. Pion), one of three hills in the vicinity of ancient Ephesus. An ancient legend claims that Androclus chose this site on the basis of an oracle that said the city should be established at the site indicated by a fish and a wild boar. When Androclus and his companions landed on the coast of Asia Minor, Androclus joined some locals who were grilling fish. One of the fish, along with a hot coal, flipped off the grill.
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Conference papers on the topic "The ancient theater of Ephesus"

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Denker, Ahmet, Selen F. Güngördü, Deniz Naz Demirtaş, and Ecem S. Ulaş. "An AI -Driven Timeless Journey to Ancient Ephesus." In 2025 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2025. https://doi.org/10.1109/vrw66409.2025.00103.

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Dimarogonas, Andrew D. "Mechanisms of the Ancient Greek Theater." In ASME 1992 Design Technical Conferences. American Society of Mechanical Engineers, 1992. http://dx.doi.org/10.1115/detc1992-0301.

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Abstract The word Mechanism is a derivative of the Greek word mechane (which meant machine, more precisely, machine element) meaning an assemblage of machines. While it was used for the first time by Homer in the Iliad to describe the political manipulation, it was used with its modern meaning first in Aeschylos times to describe the stage machine used to bring the gods or the heroes of the tragedy on stage, known with the Latin term Deus ex machina. At the same time, the word mechanopoios, meaning the machine maker or engineer, was introduced for the man who designed, built and operated the mechane. None of these machines, made of perishable materials, is extant. However, there are numerous references to such machines in extant tragedies or comedies and vase paintings from which they can be reconstructed: They were large mechanisms consisting of beams, wheels and ropes which could raise weights up-to one ton and, in some cases, move them back-and-forth violently to depict space travel, when the play demanded it. The vertical dimensions were over 4 m while the horizontal travel could be more than 8 m. They were well-balanced and they could be operated, with some exaggeration perhaps, by the finger of the engineer. There is indirect information about the timing of these mechanisms. During the loading and the motion there were specific lines of the chorus, from which we can infer the duration of the respective operation. The reconstructed mechane is a spatial three- or four-bar linkage designed for path generation.
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Giurescu, Adina. "Memories and landmarks of an ancient theater." In Conferinţa ştiinţifică internaţională „Învăţământul artistic – dimensiuni culturale“ 2023. Academy of Music, Theater and Fine Arts, 2024. http://dx.doi.org/10.55383/iadc2023.19.

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The purpose of this paper is to briefly recall some of the personalities of the Romanian theater from the end of the 19th century and the beginning of the 20th century. The notes are a tribute to the actors, who imprinted the Romanian theatrical art with professionalism, passion and selflessnes. Theatrical (university) education leaves deep imprints, visible in the future artistic expression. In this case, our bewilderment is all the greater, as the present generations tend to ignore the contribution of the theater people of yesteryear. Can we think of Hamlet without mentioning Grigore Manolescu’s performance? Aristizza Romanescu was one of the most prominent figures of the Romanian theater. She dedicated herself to the profession of actor, establishing a respectable status for this occupation; she emphasized the possible social function of theatrical art. Our brief foray into the aforementioned period of Romanian theater urges us to observe the level of professionalism at which the actor’s art is performed today.
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Lichtman, Jay. "Bjork "Nature is Ancient"." In ACM SIGGRAPH 2003 video review on Electronic theater program. ACM Press, 2003. http://dx.doi.org/10.1145/1006032.1006044.

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Spanoudakis, N. S., A. Vafidis, A. Paganis, N. Andronikidis, N. Hatzidakis, and V. Niniou-Kindeli. "Geophysical Survey at the Area of the Ancient Theater of Aptera." In 8th Congress of the Balkan Geophysical Society. EAGE Publications BV, 2015. http://dx.doi.org/10.3997/2214-4609.201414164.

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Pappas, Georgios, Antonis Petrides, Vayos Liapis, and Joshua Siegel. "ANCIENT THEATER OF PHILIPPI: A 3D PHOTOGRAMMETRY-BASED GAME FOR DISTANCE HUMANITIES LEARNING." In 16th International Technology, Education and Development Conference. IATED, 2022. http://dx.doi.org/10.21125/inted.2022.1006.

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Pappas, Georgios, Antonis Petrides, Vayos Liapis, and Josh Siegel. "Integrating Game-based Learning in Distance Learning platforms: The case of “Ancient Theater of Philippi” tool." In 2022 International Conference on Interactive Media, Smart Systems and Emerging Technologies (IMET). IEEE, 2022. http://dx.doi.org/10.1109/imet54801.2022.9929648.

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Peng, Zhen. "Analysis of the modern significance of the traditional Chinese theater Yuan Zaju (1271–1368)." In 4th International Conference Modern Culture and Communication. Institute for Peace and Conflict Research, 2024. http://dx.doi.org/10.31312/978-5-6048848-7-4-11.

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China is an ancient civilization with a history of 5,000 years, with a long history and many ethnic groups. From the Han Dynasty to the middle of the Tang Dynasty, there were "baixi" (百戏) and "Can Jun xi" (参军)). During the Middle and late Tang Dynasty, opera was gradually formed. During the Song-Jin dynasties, opera developed rapidly and laid the foundation for the Yuan Ming Opera. This article, firstly, examines the historical and cultural background of the Yuan Zaju and analyzes the reasons for their popularity in feudal society; secondly, the plot structure of the Yuan Zaju has a linear course. The main structural scheme of Yuan-Zaju and its modern social influence.
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Di Gregorio, Giuseppe. "THE TAORMINA THEATER: THE DIGITAL SURVEY SYSTEM OF KNOWLEDGE OPEN IN TIME." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12168.

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In Sicily there are 19 show venues including ancient theaters and theatrical architectures. Many of these structures are fully functional and subject to visitor flows such as the theater of Syracuse and that of Taormina. They are object of interest and curiosity, revealed in the eighteenth century during the grand tour by travelers and landscape painters, in the last twenty years they have become reasons for study in various scientific areas as from acoustics to archeology, always passing through digital surveying. Studied through classical photogrammetry, structure from motion (SFM), 3D laser scanner, their representation as well as by increasingly refined and detailed two-dimensional graphics, makes use of 3D representations and techniques of virtual reality (VR) and augmented reality (AR). Due to their particular geometry, the need for studies and research is considered essential to deepen the methods of the surveys and plan their developments. Examples and problems for the archaeological survey are reported with the aim of critically evaluating the current state of the art of 3D survey, the potential and possible future developments, in the present study the results obtained for the survey of the Taormina theater (ME) and in-depth analysis of the versure environments.
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Ayala, Susana. "Becoming the Puppeteer: Reflections on Global Language and Culture by Puppetry Students in Yogyakarta, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-6.

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Puppet theater on the island of Java is an ancient art which has maintained some of its characteristics considered traditional, but has also been transforming innovations such as the wayang with hip-hop music among other popular expressions. The art of puppetry has also been institutionalized and is itself a degree program at the National Institute of Arts of Indonesia. In this paper, I show the outcomes of my research among students and shadow puppet art teachers in Java, Indonesia. There are two special characteristics in training puppeteers: The main use of Jawanese language and the development of communities of practice as ways of working in the teaching and learning process. As such, these contexts motivate students to be constantly reflecting on the Javanese language and culture. I note the process and the reflections of the participants on the Javanese language shift, and the uses of language in puppet performances which consider the reception of young Javanese. To analyze the data, I draw from fieldwork and interviews, I use the theoretical concepts of discursive genres and dialogism proposed by Bakhtin and I propose that the art of puppetry is a social field that encourages vitality and linguistic diversity on the island of Java.
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