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Keywords: performance
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Journal Articles
Classical Antiquity (2020) 39 (2): 330–367.
Published: 22 December 2020
... performance theater studies phenomenology prologue representation spectatorship NAOMI WEISS Opening Spaces: Prologic Phenomenologies of Greek Tragedy and Comedy This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the...
Abstract
This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.
Journal Articles
Classical Antiquity (2018) 37 (2): 236–266.
Published: 01 October 2018
... to photocopy or reproduce article content through the University of California Press's Rights and Permissions website at http://www.ucpressjournals.com/reprintinfo.asp . 2018 Sappho Brothers Song ritual self-reference performance Charaxus Doricha genre Archilochus prosphonetic...
Abstract
By analyzing the parallels between Sappho's Brothers Song and archaic Greek songs of welcome, especially Archilochus fr. 24 West, this essay offers a new interpretation of the Brothers Song. It clarifies that ἔλθην in the first preserved stanza represents an original aorist indicative. The chatterer repeats over and over a welcome song that begins, “Charaxus arrived with a full ship.” The rest of the song continues to engage with the welcome song tradition, anticipating the welcome song that will celebrate Charaxus' return to Mytilene, when and if that occurs. By pointing beyond itself to other, real or notional, songs about Charaxus, the Brothers Song also demonstrates Sappho's nonlinear method of storytelling that relies on her audiences' imaginations.