The lesser festivals the great or city Dionysia the actors the costumes the chorus the audience the artists of Dionysus.

Introduction Part I: 1. Plot 2. Time 3. Narrative and speech 4. Focalisation 5. Effects on the reader 6. Gaps and omissions 7. Poetic licence 8. Authentication 9. Style 10. Allusions, hints, hidden meanings 11. Characters 12. Mythography Part II: 13. The gods in Homer 14. Homeric similes 15. Epithets 16. Type scenes 17. Homeric speeches 18. Reverse order 19. Staging, performance and dramaturgy Epilogue Glossary of Greek terms.

The dramatic festivals of Athens

The Ancient Critic at Work: Terms and Concepts of Literary Criticism in Greek Scholia

Of the various Hellenistic kingdoms which arose out of the dissolution of Alexander the Great's dominions, and most resembled the empire conquered and for a time ruled over by the Macedonian king, was the Seleucid kingdom. This chapter discusses the geographical description, and military and naval aspects of the Seleucid Kingdom. The organization of the official cult of the sovereign can be useful for tracing the Seleucid administrative divisions. In considering the relations between the Seleucid kingdom and the Greek cities one must distinguish between the new Seleucid foundations and the 'old cities' which existed before the Seleucid period and even before that of Alexander and the Diadochi. The precise role of the Iranian regions and policies pursued there by the Seleucid sovereigns are less clear in comparison with the Persian empire, and the axis of the Seleucid kingdom was markedly further to the west. The achievement of Seleucid Syria is to be assessed historically as a posthumous contribution.

Syria and the East

Preface Introduction 1. The experience of Roman comedy 2. Actors and roles 3. Masks 4. Stage action 5. Music and metre 6. Improvisation Appendix conspectus metrorum Plautinorum References Indexes.

https://assets.cambridge.org/97805211/20449/frontmatter/9780521120449_frontmatter.pdf

The Stagecraft and Performance of Roman Comedy

After dismissing various possible approaches to the question of audience competence in fifth- and fourth-century Athens, this article proposes to tackle this important and notorious problem with a novel strategy that is not ?top?down? but ?bottom?up?, starting with spectators rather than plays and focusing on the bottom-line of expertise which can be taken to be shared by the majority of audience members. An umbrella-notion of ?theatrical competence? is established before two central characteristics of drama performed in Athens are exploited: the participation of spectators in the citizen-chorus at the Great Dionysia, and the implications for the competence issue of frequent exposure to an art form which is as formally conservative as preserved Attic drama. What emerges is a model of stratified decoding by spectators (elite and non-elite) who share a considerable level of theatrical competence. In a final step, this model is applied to a number of case studies taken from fifth-century comedy.

background

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The competence of theatre audiences in fifth- and fourth-century Athens

There is little contemporary evidence for the history of Athens in the decade following the fall of the Pisistratid tyranny. Herodotus wrote some sixty or seventy years after Cleisthenes' reforms, and the internal history of Athens is for him incidental to other concerns. Membership in a deme constituted the most important indication of Athenian citizenship. The substitution of the deme for the phratry as the smallest political unit was one way in which the influence of the noble families was fragmented. The new tribal organization will have had an impact on legislation and policy-making. The Solonian constitution became much more populist than it had been under Solon. For disuse under the tyranny had brought about an eclipse of Solon's laws and had made Cleisthenes enact new legislation in his attempt to gain the favour of the masses. It was in this connexion that the law on ostracism was enacted.

The dramatic festivals of Athens

Citations

The Ancient Critic at Work: Terms and Concepts of Literary Criticism in Greek Scholia

Syria and the East

The Stagecraft and Performance of Roman Comedy

The competence of theatre audiences in fifth- and fourth-century Athens

The reform of the Athenian state by Cleisthenes

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