Actors and Icons of the Ancient Theater - download pdf or read online

By Eric Csapo

ISBN-10: 1405135360

ISBN-13: 9781405135368

ISBN-10: 1444318039

ISBN-13: 9781444318036

Actors and Icons of the traditional Theater examines actors and their well known reception from the origins of theater in Classical Greece to the Roman Empire

  • Presents a hugely unique point of view into numerous new and contested fields of research
  • Offers the 1st systematic survey of facts for the unfold of theater open air Athens and the effect of the growth of theater upon actors and dramatic literature
  • Addresses a examine of the privatization of theater and divulges the way it used to be pushed through political pursuits
  • Challenges preconceived notions approximately theater historical past

Content:
Chapter 1 A Portrait of the Artist I: Theater?Realistic paintings in Athens, 500–330 BC (pages 1–37):
Chapter 2 A Portrait of the Artist II: Theater?Realistic artwork within the Greek West, 400–300 BC (pages 38–82):
Chapter three The unfold of Theater and the increase of the Actor (pages 83–116):
Chapter four Kallippides at the ground Sweepings: the bounds of Realism in Classical performing (pages 117–139):
Chapter five Cooking with Menander: Slices from the traditional domestic leisure undefined? (pages 140–167):
Chapter 6 The Politics of Privatization: a quick heritage of the Privatization of Drama from Classical Athens to Early Imperial Rome (pages 168–204):

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Additional info for Actors and Icons of the Ancient Theater

Example text

Choral motifs had snobappeal because they alluded to the activities and lifestyle of the choregic classes, a lifestyle that had no less appeal because few if any of the consumers of ceramic sympotic vessels could actually afford it. Choes by contrast are not designed for showing off. They are inexpensive and designed for private use (people who attended the drinking parties at the Anthesteria were required to bring their own choes and, unlike ordinary symposia, wine was not shared). Theirs is a much more demotic art, designed for use at popular festivals (just as figurines probably served as souvenirs of the Dionysia).

65 Revermann 2006b. indd 35 11/21/2009 6:25:49 AM 36 Portrait of the Artist I 66 Explored in Csapo 2008 and Csapo forthcoming A. 67 The reliefs are studied by Micheli 1998, though she does not distinguish between actors and choreuts. 68 Rather surprisingly, the poet’s beard was trimmed in the late fourth century bc; see Scholl 1995. 69 MMC regards the masks as different (AS 1). 70 Rumpf 1961. 71 See Csapo forthcoming A. ] X orat. 841, which seems to draw upon Philochorus Atthis, written about 261 bc (cf.

MMC AT 1–4: Agora T 1468 and 1575; Agora T 3507, same type as Louve CA 376; Agora T 3070. 470 dates the earliest to 405 bc. 125–35. MTS AT 1–3. MMC AT4, 31–4. 102–3. Marble reliefs with masks: Athens, NM 1750, MTS2 34, AS 5 (375–350 bc); Athens, NM 4531, SEG 32 [1982] 248 (350–308 bc); Athens NM 382, MTS AS 27 (Imperial imitation). See further, Csapo forthcoming A. 9, 23–7. 69), though this may have changed sometime before 348 bc (as suggested by the allotment of pipers by the archon attested by Dem.

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Actors and Icons of the Ancient Theater by Eric Csapo


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