Friday, 6 December 2013

Theatre of Dionysos, Athens & Odeon of Herodes Atticcus

  







  

References

Θέατρο Διονύσου

The development of this theatre building can be more definitely attributed to Peisistratos’ reign. A third century inscription tells us that a certain Thespis, probably in 534 BC, ‘first’? acted and produced a play in Athens, and won a goat (tragos) as a prize. Some confirmation of this date is provided by the traces of buildings dating to the late sixth century which have been found underneath the fourth century Theatre of Dionysos on the southern slope of the Acropolis. They consist of a round dancing-floor (orchestra) for singers and dancers, with a small shrine behind, and a hollowed-out semi-circle for the audience.


In that same year, 534 BC, about ten years before the birth of Aeschylus, the  Athenian tyrant Peisistratus caused the cult centre of the god Dionysos Eleuthereus to be transferred from the town in Attica of Eleusis, bordering with Megara, to the centre of Athens, to a site just south of the Acropolis. Here he instituted an annual festival known as the Great or City Dionysia.

The Architecture of the Ancient Greek Theatre - Google Books pp 39-80
The Wooden Theatre of Dionysos Eleuthereus in Athens:: Old Issues, New Research | Request PDF - ResearchGate
The Wooden Theatre of Dionysos Eleuthereus in Athens: Old Issues, New Research
by Christina Papastamati-von Moock

Sanctuary of Dionysos, Athens - Warwick University

Dionysos, étude sur l'organisation matérielle du théâtre athénien : Octave Navarre - Internet Archive

The theatre of Dionysus in Athens: Pickard-Cambridge, Arthur Wallace,- Internet Archive

The Attic Theatre; a description of the stage and theatre of the Athenians, and of the dramatic performances at Athens: A.E. Haigh -  Internet Archive

Sturgeon, M. C. (1977). The Reliefs on the Theater of Dionysos in Athens. American Journal of Archaeology, 81(1), 31–53. https://doi.org/10.2307/503646 https://www.jstor.org/stable/503646
Athens, Theatre of Dionysos - Perseus
DIAZOMA -THEATRE OF DIONYSOS
Theatre of Dionysos - Wikimapia

Ministry of Culture and Sports (Athens Greece) - Theater of Dionysus Eleuthereus

ΤΟ ΘΕΑΤΡΟΝ ΤΟΥ ΔΙΟΝΥΣΟΥ
PLATON FL 8612 23 : Markantanou, G.A - Internet Archive

The Wooden Theatre of Dionysos Eleuthereus by Christina Papamasti von Moock
in The Architecture of the Ancient Greek Theatre - Google Books

Napoli, V. (2021). Theatrical Spaces. In J. Neils & D. Rogers (Eds.), The Cambridge Companion to Ancient Athens (Cambridge Companions to the Ancient World, pp. 319-331). Cambridge: Cambridge University Press. doi:10.1017/9781108614054.024
The Cambridge Companion to Ancient Athens - Google Books

MORETTI, J.-C. (1999). The Theater of the Sanctuary of Dionysus Eleuthereus in Late Fifth-Century Athens. Illinois Classical Studies, 24/25, 377–398. http://www.jstor.org/stable/23065378

Clift, D. K. (1973). [Review of Die Prohedrie des Dionysostheaters in Athen, by M. Maass]. American Journal of Archaeology, 77(3), 349–350. https://doi.org/10.2307/503460 

Das Dionysos-Theater in Athen by E. Fiechter; R. Herbig; Das Theater in Eretria by E. Fiechter
Oscar Broneer
American Journal of Archaeology
Vol. 42, No. 4 (Oct. - Dec., 1938), pp. 596-601
Published by: Archaeological Institute of America
Article Stable URL: http://www.jstor.org/stable/499197

Theater of Dionysos in Athens
Mary C. Sturgeon
American Journal of Archaeology
Vol. 81, No. 1 (Winter, 1977), pp. 31-53
http://www.jstor.org/stable/503646

Goldhill, S. (1987). The Great Dionysia and Civic Ideology. The Journal of Hellenic Studies, 107, 58–76. https://doi.org/10.2307/630070 https://www.jstor.org/stable/630070.

Das griechische Theater: Beiträge zur Geschichte des Dionysos-theaters in Athen und anderer ... : Wilhelm Dörpfeld , Emil Reisch - Internet Archive

The Theatre of Dionysus in Athens: Pickard-Cambridge, Arthur Wallace - Internet Archive

Athens, The Theatre of Dionysus (Dionysos) – The Ancient Theatre Archive

Theatre of Dionysos - My Favourite Planet       Archived

Athen Theatrum.De
Dionysos-Theater Theatrum.De
Lenaion-Theater Theatrum.De

Lecture by Edith Hall The Theatre of Dionysus - YouTube

David Kawalko Roselli (1 June 2011). Theater of the People: Spectators and Society in Ancient Athens. University of Texas Press. ISBN 978-0-292-74477-6.

David Wiles (1999). Tragedy in Athens: Performance Space and Theatrical Meaning. Cambridge University Press. pp. 1–. ISBN 978-0-521-66615-2.

David Wiles (1999). Tragedy in Athens: Performance Space and Theatrical Meaning. Theatre of Dionysos: Cambridge University Press. pp. 23–. ISBN 978-0-521-66615-2.

Christiane Sourvinou-Inwood (2003). Tragedy and Athenian Religion. Lexington Books. ISBN 978-0-7391-0400-2.
Jeffrey M. Hurwit (1999). The Athenian Acropolis: History, Mythology, and Archaeology from the Neolithic Era to the Present. CUP Archive. pp. 1–. ISBN 978-0-521-41786-0.

Rush Rehm (2 September 2003). Greek Tragic Theatre. Chapter 4: The Theatre of Dionysus: Routledge. pp. 31–. ISBN 978-1-134-81413-8.

Arthur W. Pickard-Cambridge (1973). The Theatre of Dionysus in Athens. Clarendon Press.

(2013). Religious Practices in Greek Tragedy. In The Encyclopedia of Greek Tragedy, H.M. Roisman (Ed.). doi:10.1002/9781118351222.wbegt6640

Aegeria, Corinth, Delos, Delpthi, Dionysus and Elis Theatre - Hellenic Period Blogspot


Benjamin N. Weiss (2008). New Research on Acoustics. Nova Publishers. pp. 232–. ISBN 978-1-60456-403-7.

Lycurgus of Athens - Wikipedia

http://digi.ub.uni-heidelberg.de/diglit/doerpfeld1896/0039


theatro_dionysos_grafiko.jpg (600×420)

Antike griechische Theaterbauten V: 
Das Dionysos-Theater in Athen I: Die Ruine
E Fiechter - 1936 - Stuttgart

Das Dionysos-Theater in Athen II
R Herbig - Die Skulpturen vom Biihnenhaus, Stuttgart, 1935

Das Dionysos-Theater in Athen, III
E Fiechter - ff, 1936
LE THÉATRE DE BACCHUS A ATHÈNES
François Lenormant
Revue Archéologique
Nouvelle Série, Vol. 9 (Janvier à Juin 1864), pp. 434-436 (3 pages)
Published by: Presses Universitaires de France
https://www.jstor.org/stable/41734407

MORETTI, J. (1999). The Theater of the Sanctuary of Dionysus Eleuthereus in Late Fifth-Century Athens. Illinois Classical Studies, 24/25, 377-398. Retrieved September 26, 2020, from http://www.jstor.org/stable/23065378  https://bit.ly/3cBQRZl

Inscriptional Records for the Dramatic Festivals in Athens: IG II2 2318-2325 ... - Douglas Olson, Benjamin Millis - Google Books

Stephen V. Tracy. (2015). The Dramatic Festival Inscriptions of Athens: The Inscribers and Phases of Inscribing. Hesperia: The Journal of the American School of Classical Studies at Athens, 84(3), 553–581. https://doi.org/10.2972/hesperia.84.3.0553 https://www.jstor.org/stable/10.2972/hesperia.84.3.0553



Archived: http://bit.ly/32sRVda

THE GREAT ANCIENT GREEK TEMPLES - the Acropolis of Athens - the south slope of the Acropolis - Part 1 - The Theatre of Dionysos
Archived: http://bit.ly/38VYnvo

Odeon, Athens

Rhodes College Digital Archives - DLynx: Odeion of Herodes Atticus

The Acoustics of Roofed Ancient Odeia: The Case of Herodes Atticus...: Ingenta Connect

Acoustic Reconstruction of the Odeon Of Herodes Attikus, Greece: An Immersive Museum Installation. — Solent University

Project Ancient Acoustics Part 2 of 4: large-scale acoustical measurements in the Odeon of Herodes Atticus and the theatres of Epidaurus and Argos

Project ancient acoustics part 3 of 4 : Influence of geometrical and material assumptions on ray-based acoustic simulations of two ancient theatres — Eindhoven University of Technology research portal

Project Ancient Acoustics Part 4 of 4 : stage acoustics measured in the odeon of herodes atticus and the theatre of argos — Eindhoven University of Technology research portal

Odeon of Herodes Atticus - Wikipedia,

Odeon of Herodes Atticus - Wikimapia

ANCIENT THEATRES - THEATROPAIDEIA
Odeon of Herodes Atticus Link in Greek









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Aeschylus

Portrait of the Athenian tragedian Aeschylus - Flickr.com

Aeschylus the tragedian

 Born in 525/4 BC at the deme of Eleusis into the Athenian aristocratic family Eupatridae. Fought with distinction in the Persian wars at  Marathon in 490 BC, and again in 480 BC at Salamis. and possibly at Plataea in the following year. Aeschylus seems to have begun writing tragedy at a young age, and for some time he appeared personally as an actor in his own plays. His plays, however, did not win first place in a contest until he was forty years old (ca 484 BC). During his lifetime he is said to have won thirteen such victories and even a few posthumously, for an exception and special unique privilege during the fifth century was granted by referendum to Aeschylus following his death, that his plays were to be set down in a standard authorised master version, and anyone who wished to was to be granted special performing rights to put on any his plays at any of the regular Athenian festivals.

He made his debut at the Dionysia in 499 BC. Won his first victory in 484 BC, after that won 12 time more in the tragedy contest [agon]: Persae 472 BC, Seven Against Thebes [Septem adversus Thebas] 467 BC. Suppliant Women [Supplices/The Suppliants] 463 BC and the Oresteia in 458 BC. In 468 he was defeated by the young Sophocles. He was attributed in antiquity to have written some 90 plays, however only the titles of some 79 of his plays are known for certain.

According to Aristotle his contributions to the art of tragedy were the introduction of a second actor, and a reduction in volume of the part played by the Chorus, but also an attempt to involve the chorus more directly in the action of the play.

He focused on speech as the central component of a tragedy. He liked his actors and the stage to have impressive decors. He invented several dance figures [Ochemata; schemata] for the chorus which he personally rehearsed with his choruses as its choreographer [chorodidaskalos (Χοροδιδάσκαλος, or in short διδάσκαλος)].

Invited to Sicily by the tyrant Hieron for whom he directed the Persai, which had been previously been staged in Syracuse, he organised the Aitnai ca [but not earlier than] 476/5 BC, a festival for the city of Aetnae [Etna] which had recently been founded by Hieron. He was to die in Gela on the occasion of another visit to Sicily in 456/5 BC. Apocryphally he was said to have been killed by a falling tortoise which had been dropped from the beak of an eagle flying overhead onto his bald head cracking his skull.The eagle was said to have been looking for a boulder upon which to break open the tortoise's shell so it and its eaglets could feast on it. He was entombed at Gela in Sicily, which was to become a place of pilgrimage, and his self-composed epitaph is remarkable in that it only mentions his military exploits whilst completely ignoring his literary career.  His tomb at Gelo was inscribed with the following epitaph celebrating his bravery at Marathon but says not a word about his playwriting . It seems that Aeschylus thought that his soldiering was far more worthy to record for posterity than his literary career:

"Here lies the Athenian Aeschylus, son of Euphorion, who died amidst the corn fields of Gela. The plain of Marathon can tell of his proven might, and the long-haired Medes who learned of it there."

Two of his sons, Euphorion and Evaeon, were also to become tragedians in their own right, and also his sister's son Philocles.

Concerning those of his plays which have survived extant into modern times, a selection of seven plays in all, as in the case of Sophocles, was made by the scribes for copying, probably early in the Christian era. And it is these seven that have been preserved. In Byzantine times, three of these seven: the Persians, the Seven against Thebes,and the Prometheus, were gathered into a smaller group. This latter group has managed to come down to us in more manuscripts and with much better text than his other plays.

A fair critical feature about Aeschylus is that he is prone to use too many metaphors and to mix them beyond all reason. But these faults are very minor ones when considered along with the heroic vigor and archaic freshness of his poetry

We can appreciate the metrical and musical development that Aeschylus brought to tragical presentation, as little of this can be appreciated in translations. He is said to have created his own choral dance figures, but we know practically nothing about these.

In the final scene (Exodus) of The Frogs, in a Komos, Aristophanes has Dionysos triumphantly lead Aeschylus out of Hades, the land of the dead, the underworld, back up again into the land of the living, as of all the tragedians he considers Aeschylus as best able to teach the Athenians.


References

Author(s): E. J. Kiehl
Source: Mnemosyne, 1ste Deel (1852), pp. 361-374
Published by: Brill

Michael Gagarin (2010). The Oxford Encyclopedia of Ancient Greece and Rome. Aeschylus: Oxford University Press. pp. 22–. ISBN 978-0-19-517072-6.

Oxford Readings in Aeschylus - Google Books

Dictionary Of Greek And Roman Biography And Mythology Vol. I p. 40 - Aeschylus

Ancient Classics of English Readers Vol. 3  Aeschylus - Reginald Stephen Copleston - Google Books

Gale Cengage; Ward W. Briggs (1997). Ancient Greek Authors. Gale Research. ISBN 978-0-8103-9939-6.
Ancient Greek authors : Aeschylus - Archive.Org

Aeschylus - Wikipedia

Aeschylus | Biography, Plays, & Facts | Britannica

Aeschylus : Ireland, S., 1947- Internet Archive

Aristophanes: Bloom, Harold - Internet Archive

Aeschylean Tragedy - Google Books Alan H. Sommerstein

The political background of Aeschylean tragedy: Podlecki, Anthony J - Internet Archive http://bit.ly/3sZ5AaU

Henry Grey (F.R.B.S.) (1881). The classics for the million, an epitome, in English, of the works of the principal Greek and Latin authors. Aeschylus. pp. 107–.

 S. Burges Watson, ‘Orpheus: A Guide to Selected Sources’, Living Poets (Durham, 2013) 



Aeschylus was accused before the Areopagus of having divulged the Mysteries of Demeter in certain of his tragedies, but was acquitted.
Aristotle: Nicomachean Ethics (H. Rackham, ed.) bekker page 1111a

Aeschylus - Tom's Learning Notes

Aeschylus: Oxford Bibliographies Online Research Guide - Google Books https://bit.ly/333BU1o

Easterling, P. E. “Presentation of Character in Aeschylus.” Greece & Rome, vol. 20, no. 1, 1973, pp. 3–19. JSTOR, http://www.jstor.org/stable/642873


Taplin, O. The Stagecraft of Aeschylus (1977)

Winnington-Ingram, R.P. Studies in Aeschylus (1983)


Aeschylus in Sicily
C. J. Herington
The Journal of Hellenic Studies
Vol. 87 (1967), pp. 74-85 (12 pages)
Published by: The Society for the Promotion of Hellenic Studies
DOI: 10.2307/627808
https://www.jstor.org/stable/627808

 Distorted Oaths in Aeschylus
Isabelle Torrance
Illinois Classical Studies
Vol. 40, No. 2 (Fall 2015), pp. 281-295
Published by: University of Illinois Press
DOI: 10.5406/illiclasstud.40.2.0281
https://www.jstor.org/stable/10.5406/illiclasstud.40.2.0281

Catalogue of the Manuscripts of Aeschylus 
Author(s): Herbert Weir Smyth 
Source: Harvard Studies in Classical Philology, Vol. 44 (1933), pp. 1-62 
Published by: Department of the Classics, Harvard University 
Stable URL: https://www.jstor.org/stable/310679

Mary R. Lefkowitz (2 April 2012). The Lives of the Greek Poets. Chapter 7: Life of Aeschylus: JHU Press. pp. 70–. ISBN 978-1-4214-0464-6.

Michael Lloyd (2007). Oxford Readings in Aeschylus. OUP Oxford. ISBN 978-0-19-926524-4.

P. E. Easterling; E. W. Handley (9 May 1985). The Cambridge History of Classical Literature: Volume 1, Greek Literature. Tragedy - 3.Aeschylus: Cambridge University Press. pp. 281–. ISBN 978-0-521-21042-3.

Simon Hornblower; Antony Spawforth; Esther Eidinow (29 March 2012). The Oxford Classical Dictionary (4th Edition). Aeschylus: OUP Oxford. pp. 26–8. ISBN 978-0-19-954556-8.

Robert Holmes Beck (6 December 2012). Aeschylus: Playwright Educator. Springer Science & Business Media. ISBN 978-94-011-8818-0.

Rebecca Futo Kennedy (25 September 2017). Brill's Companion to the Reception of Aeschylus. BRILL. ISBN 978-90-04-34882-0.

Nigel Wilson (31 October 2013). Encyclopedia of Ancient Greece. Aeschylus: Taylor & Francis. pp. 16–. ISBN 978-1-136-78799-7.

David Sacks; Oswyn Murray (1995). A Dictionary of the Ancient Greek World. Aeschylus Oxford University Press. pp. 7–. ISBN 978-0-19-511206-1.

John Herington (1986). Aeschylus. Yale University Press. ISBN 978-0-300-03643-5.

R. P. Winnington-Ingram; Aeschylus (29 September 1983). Studies in Aeschylus. CUP Archive. ISBN 978-0-521-24938-6. 
Studies in Aeschylus : Winnington-Ingram, R. P. (Reginald Pepys), - Internet Archive

Aeschylus Biography - life, family, children, history, wife, young

PETER. BURIAN (22 May 2020). A Companion to Aeschylus. John Wiley & Sons, Limited. ISBN 978-1-4051-8804-3.

Contributions to Antiquity: Studies in Aeschylus Martin L. West - Internet Archive

Oresteia - Wikipedia

The Danaid Tetralogy of Aeschylus
A. Diamantopoulos
The Journal of Hellenic Studies
Vol. 77, Part 2 (1957), pp. 220-229
http://www.jstor.org/stable/629361

Stoessl, Franz. “Aeschylus as a Political Thinker.” The American Journal of Philology, vol. 73, no. 2, 1952, pp. 113–139. JSTOR, www.jstor.org/stable/291809

Lloyd-Jones, Hugh. “Zeus in Aeschylus.” The Journal of Hellenic Studies, vol. 76, 1956, pp. 55–67. JSTOR, https://doi.org/10.2307/629553. https://www.jstor.org/stable/629553

A. F. Garvie (1969). Aeschylus' Supplices. CUP Archive

Lazani_UCL_PhD.pdf - The Aeschylean Chorus PhD Thesis by Anastasia Lazani

Aeschylus (2013). Delphi Complete Works of Aeschylus (Illustrated). Delphi Classics. ISBN 978-1-909496-48-4.

Ian C. Storey; Arlene Allan (15 April 2008). A Guide to Ancient Greek Drama. Play Synopses - Aeschylus: John Wiley & Sons. pp. 243–. ISBN 978-1-4051-3763-8.

Richard Seaford (12 January 2012). Cosmology and the Polis: The Social Construction of Space and Time in the Tragedies of Aeschylus. Cambridge University Press. ISBN 978-1-107-00927-1.

Isabelle Torrance (May 2010). Aeschylus: Oxford Bibliographies Online Research Guide. Oxford University Press, USA. ISBN 978-0-19-980491-7.

Thomas G. Rosenmeyer (1982). The Art of Aeschylus. University of California Press. ISBN 978-0-520-04440-1.
The art of Aeschylus : Rosenmeyer, Thomas G : Internet Archive

Aeschylus, the Alkmeonids and the Reform of the Areopagos
Loren J. Samons II
The Classical Journal
Vol. 94, No. 3 (Feb. - Mar., 1999), pp. 221-233
Published by: The Classical Association of the Middle West and South, Inc. (CAMWS)
https://www.jstor.org/stable/3298367

Annotated Versions of Aeschylus
Aeschylus; tr Christopher Collard (2002). Oresteia. Oxford University Press. ISBN 978-0-19-814967-5.

Aeschylus; tr Christopher Collard (2003). Oresteia. Oxford University Press. ISBN 978-0-19-283281-8.

Aeschylus; tr Christopher Collard (28 February 2008). Aeschylus: Persians and Other Plays. OUP Oxford. ISBN 978-0-19-814968-2.

Aeschylus; tr Christopher Collard (28 February 2008). Aeschylus: Persians and Other Plays. OUP Oxford. ISBN 978-0-19-814968-2.


The Agamemnon by Aeschylus (1920)  translated and commentary by Gilbert Murray
https://openlibrary.org/books/OL13991966M/The_agamemnon

Sabine Föllinger (2009). Aischylos: Meister der griechischen Tragödie. C.H.Beck. ISBN 978-3-406-59130-3. Wikisource


.
Aeschylus, Agamemnon (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Agamemnon (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Agamemnon (English) (ed. Robert Browning)
Aeschylus, Eumenides (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Eumenides (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Libation Bearers (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Libation Bearers (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Persians (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Persians (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Prometheus Bound (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Prometheus Bound (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Seven Against Thebes (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Seven Against Thebes (English) (ed. Herbert Weir Smyth, Ph. D.)
Aeschylus, Suppliant Women (Greek) (ed. Herbert Weir Smyth, Ph.D.)
Aeschylus, Suppliant Women (English) (ed. Herbert Weir Smyth, Ph. D.)

Gilbert Murray Verse Translations
The Agammenon

Libation Bearers

Suppliant Women
https://archive.org/details/suppliantwomensu00aesc

Morshead Verse Translations


The Suppliant Maidens, the Persians, the Seven against Thebes, the Prometheus Bound of Aeschylus
https://archive.org/details/suppliantmaidens00aesc/page/n8/mode/2up

David Grene and Richard Lattimore Translations

Aeschylus I : Oresteia

Aeschylus II : The Suppliant maidens ; The Persians ; Seven against Thebes ; Prometheus Bound

Gottfried Hermann. Aeschyli Tragoediae. Volume 1. Cambridge University Press. ISBN 978-1-108-01621-6
Gottfried Hermann. Aeschyli Tragoediae. Volume 2. Cambridge University Press. ISBN 978-1-108-01622-3.

Aeschylus; Gottfried Hermann (1852). Aeschyli tragoediae. Volume 2. Weidmannos.
Aeschylus; Gottfried Hermann (1859). Aeschyli Tragoediae. Volume 2. Apud Weidmannos.

Aeschylus; Richard Porson (1806). Aeschyli Tragoediae septem: cum versione Latina. Apud T. Payne
Aeschylus; Richard Porson; Wilhelm Dindorf (1827). Aeschyli Tragoediae. sumptibus et Typis B.G. Teubneri.

Aeschylus; Friedrich Heinrich Bothe (1831). Aeschyli Tragoediae: Prometheus vinctus, Supplices, Septem adversus Thebas, Persae. Hahn. pp. 2–.


Aeschylus (1855). The tragedies of Aeschylus.

The House of Atreus; Being the Agamemnon, the Libation bearers, and the Furies


Peter Burian (2010). The Complete Aeschylus: Volume I: The Oresteia. Oxford University Press. pp. 1–. ISBN 978-0-19-983113-5.


Aeschylus (2003). Oresteia. Oxford University Press. ISBN 978-0-19-283281-8.

 Aeschylus (1998). Aeschylus: The Oresteia. University of Pennsylvania Press. ISBN 978-0-8122-1627-1.

Aeschylus; trans: Peter Meineck (1975). Oresteia. Hackett Publishing. ISBN 1-60384-324-8.

Aeschylus, translation by Herbert Weir Smyth : Aeschylus Vol II

Stefan Radt (1985). Tragicorum Graecorum fragmenta. Volume 3: Aeschylus. Vandenhoeck & Ruprecht. ISBN 978-3-525-25745-6.


▶ The Oresteia Agamemnon part 1 - YouTube



Language, Lamentation, and Power in Sophocles' "Electra"
SARAH NOOTER
The Classical World
Vol. 104, No. 4 (SUMMER 2011), pp. 399-417 (19 pages)
Published by: The Johns Hopkins University Press on behalf of the Classical Association of the Atlantic States
Stable URL: https://www.jstor.org/stable/41303454

(PDF) WHEN HEROES SING: Sophocles and the Shifting Soundscape of Tragedy : Sarah Nooter - Academia.edu

Taplin, Oliver. “Aeschylean Silences and Silences in Aeschylus.” Harvard Studies in Classical Philology, vol. 76, 1972, pp. 57–97. JSTOR, www.jstor.org/stable/310978.

Bernard M. W. Knox. “Aeschylus and the Third Actor.” The American Journal of Philology, vol. 93, no. 1, 1972, pp. 104–124. JSTOR, www.jstor.org/stable/292905.

Allen, James Turney. “The Idle Actor in Aeschylus.” The Classical Quarterly, vol. 1, no. 4, 1907, pp. 268–272. JSTOR, www.jstor.org/stable/636458.






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Thursday, 5 December 2013

Mimesis

Mimesis [μίμησις] means "imitation" or "representation".

Aristotle, Poetics, section 1447a Footnote 2
Life "presents" to the artist the phenomena of sense, which the artist "re-presents" in his own medium, giving coherence, designing a pattern. That this is true not only of drama and fiction but also of instrumental music ("most flute-playing and harp-playing") was more obvious to a Greek than to us, since Greek instrumental music was more definitely imitative. The technical display of the virtuoso Plato describes as "a beastly noise." Since μίμησις in this sense and μιμητής and the verb μιμεῖσθαι have a wider scope than any one English word, it is necessary to use more than one word in translation, e.g. μιμητής is what we call an "artist"; and for μίμησις where "representation" would be clumsy we may use the word "art"; the adjective must be "imitative," since "representative" has other meanings.

Theatrical production, the planning, rehearsal, and presentation of a work. Such a work is presented in front a live audience at a particular time and place by live performers, who use either themselves or inanimate figures, such as puppets, as the medium of presentation. A theatrical production can be either dramatic or nondramatic, depending upon the way an activity is presented.

Whilst most dramatic productions conform to a written text, it is not the use of any such text but rather the fictional mimetic (from Greek mimēsis, “imitation,” “representation”) nature of an actor's skill that makes a work dramatic. For example, a person walking a tightrope is performing an acrobatic act, whereas a person who pretends to be an acrobat walking along a tightrope is performing a dramatic act. Such acting demonstrates the real and full mimetic skill of an actor. Both performers are engaged in a theatrical presentation, but only the latter is involved in the creation of a dramatic illusion. It is only through dramatic performance which can include dancing, singing, juggling, acrobatics, or any other nondramatic elements, that the audience learns that theatre is primarily concerned with the representation of an actual or imagined life.

In nondramatic theatrical productions there is no imitation of “another existence” but simply the entertainment or excitation of the audience by the actor. Whether acrobatic or musical, gestural or vocal, such activity is theatrical because it is presented by a live actor in front of a live audience, but it remains nondramatic so long as it has only a purely presentational quality rather than a representational one.

Mimesis, the concept of imitation in art and performance, is more than mere pretence. Whilst pretence plays an important role, mimesis involves various other dimensions:

Representation: Beyond surface-level imitation, mimesis seeks to capture the essence of a subject, conveying its spirit, meaning, or emotional impact.

Interpretation: Artists actively interpret and filter observations through their perspective, enabling creative expression and commentary on the world.

Transformation: Mimesis goes further, allowing for the creation of new worlds or realities inspired by observation. This is seen in surrealist art that distorts or juxtaposes elements.

Pretence is an important facet of mimesis, evident in:

Fiction: Characters and events in fictional narratives exist as pretence, enabling engagement with the story and exploration of various possibilities.

Drama and Performance: Actors on stage or screen engage in pretence, embodying characters' emotions and actions, making theatre and film powerful mediums for human exploration.

Irony and Satire: Some art forms use pretence for ironic or satirical purposes, manipulating reality to highlight its absurdities or contradictions.

 References

 Aristotle Poetics Chapters 1, 2, 3 and 4
Aristotle: Poetics (350 B.C.)  Archived

 Mimesis - Wikipedia,

tragedy and philosophy Cambridge University

mimesis (art) -- Encyclopedia Britannica

Mimesis and the Aesthetic Experience

Matthew Potolsky (2006) Mimesis Routledge. pp. 1– ISBN 978-0-203-40100-2.

Mimesis - Matthew Potolsky - Google Books

Stephen Halliwell (2009). The Aesthetics of Mimesis: Ancient Texts and Modern Problems. Princeton University Press. pp. 1–. ISBN 978-1-4008-2530-1.

Annette Lust (2002). From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots, and Clowns : a Chronicle of the Many Visages of Mime in the Theatre. Scarecrow Press. ISBN 978-0-8108-4593-0.

About.com Grammar & Composition
mimesis - definition and examples of mimesis - rhetorical terms

Tom C. Hunley (2011). The Poetry Gymnasium: 94 Proven Exercises to Shape Your Best Verse. McFarland. pp. 137–. ISBN 978-0-7864-6514-9.

Koller, H. (1954). Die Mimesis in der Antike: Nachahmung, Darstellung, Ausdruck. Bernae Aedibus A. Francke.

"Imitation" in the Fifth Century
Gerald F. Else
Classical Philology
Vol. 53, No. 2 (Apr., 1958), pp. 73-90
Published by: University of Chicago Press
Gunter Gebauer; Christoph Wulf (1995). Mimesis: Culture, Art, Society. University of California Press. ISBN 978-0-520-08459-9


Gunter Gebauer; Christoph Wulf (1995). Mimesis: Culture, Art, Society. University of California Press. pp. 53–. ISBN 978-0-520-08459-9.

Mihai Spariosu (1984). Mimesis in Contemporary Theory: An interdisciplinary approach: Volume 1: The literary and philosophical debate. John Benjamins Publishing. ISBN 90-272-8011-8.

Ronald Bogue (1991). Mimesis in Contemporary Theory: An interdisciplinary approach: Volume 2: Mimesis, semiosis and power. John Benjamins Publishing Company ISBN 978-90-272-7785-5.

Göran Sörbom (1966). Mimesis and Art: Studies in the Origin and Early Development of an Aesthetic Vocabulary. Svenska Bokförlaget Bonniers.

Satyric and heroic mimes : attitude as the way of the mime in ritual and beyond : Wylie, Kathryn, 1948- - Internet Archive
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