This book provides a detailed analysis of the conventions and techniques of performance characteristic of the Greek theatre of Menander and the subsequent Roman theatre of Plautus and Terence. Drawing on literary and archaeological sources, and on scientific treatises, David Wiles identifies the mask as crucial to the actor's art, and shows how sophisticated the art of the mask-maker became. He also examines the other main elements which the audience learned to decode: costume, voice, movement, etc. In order to identify features that were unique to Hellenistic theatre he contrasts Greek New Comedy with other traditions of masked comedy, and shows how different Roman conventions of performance rest upon different underlying assumptions about religion, marriage and class. David Wiles offers theatre historians and classicists a radical new approach to reading play texts. His book will also be useful to archaeologists seeking to understand what masks mean and how Greek and Roman theatres were used.
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In this detailed analysis of the contentions and techniques of performance which characterised the Greek theatre of Menander and subsequent Roman theatre. David Wiles offers a radical new approach to reading play texts. He identifies the mask as crucial to the actor's art and examines other main elements which audiences learned to decode.
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Inside This Book
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First Sentence:
It is no accident of modern archaeology that Menander is the only writer of Greek New Comedy whose works have survived in anything more than tiny fragments. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Comedy, Old Cantankerous, The Rape of the Locks, Old Comedy, The Ladies, The Sikyonian, The Eunuch, The Man She Hated, The Brothers, The Double Deceiver, Asia Minor, Theatre of Dionysus, The Farmer, Aristotle's Rhetoric, Demetrios of Phaleron, The Necklace, The Rope, The Self-Tormentor, While Menander, Anne Ubersfeld, Aristophanes of Byzantium, Kanze Hisao, The Two Bacchises, Title Unknown New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
It is no accident of modern archaeology that Menander is the only writer of Greek New Comedy whose works have survived in anything more than tiny fragments. Read the first page Key Phrases - Capitalized Phrases (CAPs): (learn more)
New Comedy, Old Cantankerous, The Rape of the Locks, Old Comedy, The Ladies, The Sikyonian, The Eunuch, The Man She Hated, The Brothers, The Double Deceiver, Asia Minor, Theatre of Dionysus, The Farmer, Aristotle's Rhetoric, Demetrios of Phaleron, The Necklace, The Rope, The Self-Tormentor, While Menander, Anne Ubersfeld, Aristophanes of Byzantium, Kanze Hisao, The Two Bacchises, Title Unknown New!
Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
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This book cites 80
books:
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19
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- New Comedy: Women in Power , Wealth , The Malcontent , The Woman from Samos (Ekklesiazousai/Wealth/the Malcontent/the Woman from Samos/4 Plays in 1 Volume) by Aristophanes on 49 pages
- The Nicomachean Ethics (Oxford World's Classics) by Aristotle on 6 pages
- Menander, The Plays and Fragments (Oxford World's Classics) by Menander on 5 pages
- Themes in Drama: Volume 15, Madness in Drama (v. 15) by James Redmond on 4 pages
- History Of Animals by Aristotle on 4 pages
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- Slaves in the New Testament: Literary, Social, and Moral Dimensions by J. Albert Harrill in Back Matter (1), Back Matter (2), and Back Matter (3)
- Menander and the Making of Comedy (Contributions in Drama and Theatre Studies) by J. Michael Walton on page 70, and Back Matter
- Standing Soldiers, Kneeling Slaves by Kirk Savage in Back Matter (1), and Back Matter (2)
- Neil Simon: A Casebook (Casebooks on Modern Dramatists) by Gary Konas on page 107
- Theater: The Lively Art w. CD-ROM and Theatergoers Guide by Edwin Wilson in Back Matter
See all 19 books citing this book
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