Classical Drama

ाचीन भारतीय नाटक क लबी ृंखला को देख तो इन तमाम नाटक म यह बात सामाय तौर पर देखने को िमलती है क सभी म संकृत के साथ ाकृत भाषा समूह (िजसम मागधी, अधमागधी, आवंती, शौरसैनी, गांधारी, महाराी, वैदभ, पैशाची, ाय, बाहिलक, सकारी, चांडाली, सबरी, अभीरी, ािमली, ओी, दिणाय, अपंश आद दजन भर से अिधक भाषाएँ मुख प शािमल ह) का ापक योग देखने म आता है. यह सभी भाषाएँ ाचीन भारत म न िसफ बोली-समझी जाती रही ह बिक इनका िलिखत प और सािहय भी उपलध रहा है. ाचीन भारतीय नाटक म इनका ापक इतेमाल यह सािबत करने के िलए अपने आप म काफ है.

Though the principles of the tragedy were first laid by Aristotle, they did not remain the same as the pens of Renaissance tragedians moved. The Greek model of tragedy has incorporated in itself some modifications over time, particularly in Renaissance, as it is possible to figure many startling differences between both. Nevertheless, there are some similarities which both models have in common. In spite of the presence of many tragedians on the literary road of Greek and Renaissance, the focus here will be on Sophocles and Christopher Marlowe and their works Oedipus Rex and Dr. Faustus.

Dans les principales réflexions sur le statut du textuel au théâtre, on utilise le terme de « texte » pour désigner un ensemble d’objets qui n’en sont qu’au sens métaphorique. On parle ainsi volontiers de « représentation comme texte », de « texte scénique » ou encore de « texte vu ». Or cet usage métaphorique du terme et la consécutive absence de distinction claire entre le texte et le non-texte génèrent sans cesse de la confusion, surtout dans les études théâtrales où il y a souvent trop de « textes » pour que l’on sache toujours de quoi on parle. Pour nous aider à y voir plus clair : l’analogie dysfonctionnelle entre ce qu’on pourrait appeler le paradoxe de la mise en scène des classiques et le paradoxe mis en œuvre par Jorge Luis Borges dans « Pierre Ménard, auteur du Quichotte » (où l’on a peut-être affaire à un même texte, le Quichotte, mais à deux œuvres : celle de Ménard et celle de Cervantes) — analogie dysfonctionnelle qui nous invite à distinguer entre le texte dramatique, l'oeuvre dramatique, l'oeuvre scénique et enfin l'oeuvre théâtrale. C'est à ce prix qu'on évitera les innombrables méprises au sujet de ce qu'on nomme confusément le « texte de théâtre ».

Η εργασία αυτή εξετάζει μέσα από διάφορες λογοτεχνικές πηγές, αν η μη σωζόμενη τραγωδία "Αρχέλαος" του Ευριπίδη διδάχθηκε για πρώτη φορά στο αθηναϊκό κοινό ή  στη Μακεδονία στην αυλή του ομώνυμου βασιλιά.

This paper examines through various literary sources whether the non-extent play "Archelaos" of Euripides was originally staged in front of the Athenian audience or in Macedonia, in the palace of the titular king.

La référence aux « règles » du théâtre se généralise en France dans les années 1620-1630 et devient rapidement un topos de la critique de théâtre. Pour être bien faite, une pièce doit suivre des « règles », si elle n’est pas dans les « règles », elle est peut-être en mesure de susciter le plaisir du public, mais ne sera pas une bonne pièce. C'est du moins ce que laissent entendre les théoriciens du théâtre moderne. Pourtant la concordance entre régulation et pratique dramatique paraît plus précaire, si l’on considère de près l’essor et l’usage des règles. Il apparaît dès lors que le recours aux règles est moins une nécessité du théâtre que le fait d'un discours, et d'un discours politique: il s'agit de défendre et d'imposer  un modèle dramatique, au détriment d'autres possibilités théâtrales.

While previous research has focused on the public discourse of wealth, little attention has thus far been paid to the perception of poverty and attitudes toward it in classical Athens. This book argues that a public discourse of poverty in Athens can be reconstructed from sources dating from the 430s to the 330s BC. Athenian democracy promoted ideas about poverty that could substantially contribute to the stability of the political system, while simultaneously differentiating between destitution and "good poverty" – the latter being a legitimate condition for a citizen and beneficial to the polis. After a preliminary discussion of the debate over the definition of poverty in the social sciences, Lucia Cecchet explores the web of beliefs and the collective imaginary of poverty that emerge from classical Athenian sources addressed to large audiences: drama and oratory. The frequency with which images and ideas about "the poor" occur in these sources testifies to an ongoing discussion of the causes and effects of poverty and even possible solutions to this social problem. These sources allow us to investigate how these topics were used in drama, in the Assembly and in the jury courts to arouse emotions and influence public decisions.

This paper aims at delving into the play Medea in the light of Nietzsche’s views on tragedy expressed in his book The Birth of Tragedy. First, Nietzsche’s conception of Apollonian-Dionysiac duality will be explained, followed by a review of how he regards Eurpides, and then, the pro and con views on Euripidean tragedy will be examined. Finally the play Medea will be analyzed to designate how and in what sense it departures from, or approaches either of the Apollonian or Dionysian spirits. In what ways, the character of a mother who commits infanticide can be interpreted as rational or insane? To what extent is Medea in line with Nietzsche’s assertion that Euripides is the advocate of rationality, departing from the Dionysian spirit of tragedy?

Lisa Landrum's paper "Modus Operandi of an Architectus Doli: Architectural Cunning in the Comic Plays of Plautus"  appears as Chapter 15.  Also in the book are essays by Karsten Harries, Marco Frascari, David Leatherbarrow, Kenneth Frampton, Juhani Pallasmaa, Steven Holl, and other colleages and former students of Alberto Perez-Gomez including: Ricardo L. Castro, Tracey Eve Winton, Robert Kirkbride, Paul Emmons, Indra Kagis McEwen, Santiago de Orduña, Caroline Dionne, Lily Chi, Louise Pelletier, Lawrence Bird, Lian Chikako Chang, Natalija Subotincic, Stephen Parcell, Graham Livesey, Juan Manuel Heredia, Anne Bordeleau, Peter Olshavsky, and David Theodore.

Paper summary/excerpts: "At least five of Plautus’ twenty extant comedies involve what classicists call an architectus doli, an “architect of trickery.” … Plautus’ elaboration of the cunning slave character has long been considered one of his most original contributions to Latin drama; but the “architect” terms associated with these slaves (and with Jupiter) were likely transposed from the now largely lost Greek comedies that Plautus adapted and translated into Latin. These five imported “architects” were generally ignored in early studies of Plautine inventiveness. They eventually gained attention, however, in an important 1952 study on The Nature of Roman Comedy. Since then, Plautus’ architectus figure has been interpreted in a variety of ways within classical scholarship: as a euphemism for the play’s lowly agent of intrigue; as a proxy for the scheming playwright; and as a media-reflexive figure associated with other craft imagery used throughout Plautus’ plays to qualify and vivify not only acts of scheming and plot construction, but also moral edification. Yet, there are further interpretations to be made and important questions to be asked…This essay cannot answer these questions in full, but it will initiate an interpretation of Plautus’ architectus doli with such questions in mind. By lifting this Roman dramatist up out of the footnotes of architectural scholarship (where he is sometimes merely credited with providing the earliest extant use of the Latin term architectus), the following study prepares the grounds for discovering how the cunning agents and agencies of Plautus’ comedies meaningfully illuminate the modus operandi of architects..."

Local community participation in the revival of ancient theatres as venues in Greece shaped the dynamics of the cultural reception of inter-war performances at Delphi and Epidaurus. Here I analyse local involvement within and beyond the theatrical context of the Delphic Festivals, as well as the long-standing identification of the village of Ligourio with the theatre of Epidaurus. These relationships reflect distinctive dimensions of the clash between community-led and institutional archaeology, which dominated national discourse on authenticity and identity. At the same time, the prospects of economic development through tourism in such remote areas encouraged local receptiveness to the revival of ancient theatres.

Die Gattungen des Sprechtheaters entstehen und verändern sich seit der Renaissance kontinuierlich in einem spannungsreichen Prozess der Erneuerung und der historischen Rekonstruktion. Einer re-konstruierenden Tendenz, die auf einen Grundbestand an poetologischen Regeln, Strukturmerkmalen, Inhalten und Aufführungsweisen rekurriert, steht besonders seit dem 20. Jahrhundert eine radikal innovatorische gegenüber, die die dramatischen Gattungen neu ausrichtet oder deren weitverzweigte Traditionen zu neuen Ansätzen nutzt. Diese Trends, die sich auch überlagern können, prägen die zeitgenössischen Aufführungen vom Staatstheater bis zur Kleinbühne – aber auch Produktionen in ‚neuen' Medien (u.a. Film, Hörspiel), welche ihrerseits wiederum das Theater herausfordern. Die Sektion strebt eine Systematisierung der jüngsten Entwicklungen der dramatischen Gattungen in den romanischen Sprachräumen an. Dabei ist auch die – u.a. der unübersichtlichen Forschungslage geschuldete – Auffassung des "anything goes" kritisch zu betrachten. Neben ‚Tragödien' und ‚Komödien', deren Bezeichnung durchaus hinterfragt werden kann, besteht eine Anzahl weiterer, teils experimenteller dramatischer Gattungen, deren Verhältnis zu den klassischen Gattungen zu bestimmen ist. Folgende Problemfelder (und sicherlich weitere) bilden die Sektionsarbeit: Genese, Status quo und ‚Rahmenbedingungen' der traditionellen Gattungen: dramatische Formen und ‚Anti-Formen' (z.B. Sprechtheater vs. avantgardistisches oder postdramatisches Theater), Grenzen der Gattungsbegriffe, kulturelle Differenzen innerhalb des romanischen Sprachraums Dramentheorie, Regelpoetik(en) vs. empirische Poetik(en): Stand der Dramenforschung, Spannungsfeld von Literatur-und Theaterwissenschaft (Balmas, Ubersfeld), Chancen und Grenzen der Theorie in der konkreten Analyse und, vice versa, der Einzeltexte/-aufführungen für die Theoriearbeit Drama als gesellschaftlicher Spiegel? Re-, De-und Konstruktion klassischer Figurenkonstellationen vs. ungeahnte Konstellationen; z.B. Statik und Dynamik tradierter Komödientypen und Tragödienfiguren, Darstellung von Familienbeziehungen post-68 Materieller Rahmen: mediale Differenz vs. Verzahnung von Drama, Film, Hörfunk und anderen Me-dien (z.B. Strukturen und Elemente von Tragödien und Komödien im Film), Aufführungsbedingungen, ökonomischer Druck vs. Kunstanspruch Vorschläge sind in Form eines Abstracts (max. 300 Wörter, PDF) bis zum 15.12.2018 mit dem Betreff "Sektion romanisches Theater" an die Ansprechpartnerin Christiane Müller-Lüneschloß zu richten.

Discussions of classical scholarship and of the Anglican church in Victorian England have both at times identified an ‘age of the Greek-play bishop’ during which there was a close relationship between classical distinction and episcopal promotion. Closer investigation reveals few prelates fitting the description. This article explains this paradox by tracing the idea of the ‘Greek-play bishop’ across a variety of nineteenth-century literatures, in the process suggesting the significance more generally of the migration of ideas between overlapping Victorian print cultures. The article demonstrates how the concept originated in the radical critique of Old Corruption around 1830, before in the 1840s and 1850s satirists (notably Sydney Smith) adopted it in ad personam assaults on two bishops, J. H. Monk and C. J. Blomfield. In the 1860s, the concept became a less polemical category in the context of more wide-ranging analyses of the composition of the episcopate, gradually acquiring an elegiac aspect as new intellectual challenges arose to Victorian Christianity. By 1900, the ‘Greek-play bishop’ had begun to find the place in the conceptual armoury of historians of the nineteenth-century church that it would hold for much of the twentieth century, its polemical origins long forgotten.