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Tiffany, Grace. „Shakespeare's Dionysian Prince: Drama, Politics, and the "Athenian" History Play“. Renaissance Quarterly 52, Nr. 2 (1999): 366–83. http://dx.doi.org/10.2307/2902057.
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AbstractThis essay argues that Shakespeare drew on Plutarch's and Plato's representations of the Greek general Alcibiades in his representation of Prince Hal/King Henry V, and on classical and Renaissance representations of Socrates for his representation of Prince Hal's "tutor," Falstaff. Crucial to Shakespeare's adaption of these classical "characters" were the writings of Erasmus and Rabelais, which represented Socrates as both sophist and jovial Silenus. Shakespeare was also influenced by the association Symposium makes between Alcibiades and Dionysus, god of wine and of the theater. Consequently Hal/Henry emerges as a Dionysian Alcibiades, trained in sophistry by his Silenic Socrates, Falstaff, and able to dazzle his subjects with mystical rhetoric and to convert war to Dionysian play.
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Victoroff, Tatiana. „Les masques du mystère grec : entre la vie et la représentation“. Modernités Russes 15, Nr. 1 (2015): 275–88. http://dx.doi.org/10.3406/modru.2015.1039.
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The article deals with the enigmatic return of Greek mysteries in the culture of the Silver Age : Dionysos, god of the vine, ecstasy and theater, is incarnated on the Russian stage in spite of his nature being alien to Orthodox spirituality. The spectator is invited to plunge into secret ancient rites «reconstructed» by Russian playwrights according to Nietzsche and to their own aesthetic programs (Liturgy to Me of Fёdor Sologub, The Dionysian act of the present day of Nikolaj Vaškevič, Thamyris citharoede of Innokentij Anneskij). In accordance with the spirit of experimentation common to the Russian milieu, those ideas take flesh equally in life, making Vjačeslav Ivanov’s flat («Tower») in Saint-Petersburg a vast stage to perform masked Dionysian mysteries. Regardless of the chaotic forces escaping outwards, leading to personal tragedies, it seems that Dionysos responds to the highest aspirations of Russian culture in seeking an art free of ideological and moral bonds, collective and syncretic, capable of transforming the world here and now.
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Hollmann, Alexander. „Theater of Dionysus“. Arion: A Journal of the Humanities and the Classics 30, Nr. 1 (März 2022): 30. http://dx.doi.org/10.1353/arn.2022.0029.
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Hollmann, Alexander. „Theater of Dionysus“. Arion: A Journal of the Humanities and the Classics 30, Nr. 1 (März 2022): 30. http://dx.doi.org/10.1353/arn.2022.0029.
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Hofmann, Gert. „Ingrid Hentschel (2007) Dionysos kann nicht sterben - Theater in der Gegenwart“. Scenario: A Journal of Performative Teaching, Learning, Research II, Nr. 2 (01.07.2008): 105–7. http://dx.doi.org/10.33178/scenario.2.2.8.
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„Im Gegenwartstheater, und hier meine ich dramatische Texte sowohl als Inszenierungen und Aufführungen, zeichnet sich die Kunst durch eine Bemühung um neuerliche Vergegenwärtigung des Menschlichen aus. Eine Vergegenwärtigung, die erst durch den Kontrast zu den elektronisch und seriell erzeugbaren Bildwelten und ihren Illusionstechniken in aller Schärfe deutlich wird: Theater situiert sich als das anthropologische Medium schlechthin.“ (9) Es gehört zum Schwierigsten in den Kunstwissenschaften, Gegenwartsphänomene über das Engagement der Tageskritik und Konsumentenlust hinaus auf ein Reflexionsniveau zu heben, das Evidenzmomente erzeugt, welche den Kunstdiskurs im theoretischen wie auch praktischen Sinne auf eine bleibende Weise zu inspirieren vermögen. Ingrid Hentschel hat sich einer solchen Herausforderung mit ihrem jüngst erschienen Buch Dionysos kann nicht sterben. Theater in der Gegenwart bewusst gestellt. Denn in gesteigertem Maße besteht diese Schwierigkeit für eine Kunst des Theaters, welche in den performativen Aspekten ihrer Praxis, Inszenierung und Aufführung, das Literarische, Sprachlich-Semantische des Texts bewusst zu überwältigen unternimmt. Hentschel weist zu Recht darauf hin, dass dies bereits auf gewisse avantgardistische Bewegungen des frühen 20. Jahrhunderts zutraf – man denke nur an Antonin Artauds grandiose Experimente zur Etablierung eines „Theaters der Grausamkeit“ – aber im Theater unserer Zeit und der jüngsten Vergangenheit, also in der Theaterszene der „Jahre vor ...
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Ashby, Clifford. „Where was the Altar?“ Theatre Survey 32, Nr. 1 (Mai 1991): 3–21. http://dx.doi.org/10.1017/s004055740000942x.
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After centuries of study, an untold number of scholars have agreed that the City Dionysia of fifth-century Athens involved an animal sacrifice to the god Dionysos, and that this event took place in the theatre before the beginning of the play competition. The usual assumption has been that this sacrifice was offered upon an altar situated at the exact center of a circular orchestra.This placement fits well with the theory that tragedy grew from a dithyrambic chorus dancing in a circle around the altar of Dionysos. But now that the dogma of the originally circular orchestra has been questioned, some attention must also be given to the location of the altar, a supposedly standard piece of theatre furniture. The following pages will (1) discuss the origin of the concept of a centrally located altar; (2) examine the literary, artistic, and architectural evidence which relate to altar placement; and (3) suggest a possible alternative to the central location.
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Beltrametti, Anna. „Ritratto dell’artista da effeminato. Agatone e Zambinella“. Storia delle Donne 16 (07.07.2021): 75–99. http://dx.doi.org/10.36253/sd-11463.
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The essay starts from the figure of the poet-gynnis, Agatone, with whom Aristophanes opens the Thesmophoriazusae’s seemingly conventional plot, that heightened the men/women historically binary opposition in the Athenian polis. The elusive and metamorphic figure of the effeminate-asexual poet, who explicitly recalls an Aeschilean representation of Dionysus, the god of the theatre, strongly confirms the familiarity of Aristophanes with the Orphic-Dionysian sphere also attested in his masterpiece The Birds and in Plato’s Symposium. Aristophanes’ attention for the reasons of this line of thought, an alternative to the dominant thought in the city, has obvious implications of political and social criticism towards the historically established order and, at the same time, poses the topic of theatre and poetry. The gynnis is a poet’s ambiguous portrait and, in this particular comedy, it also questions the reasons and working of dramatization between mimesis and fantastic deformation.
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Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk und А. V. Namchuk. „DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b.“ Problems of theory and history of architecture of Ukraine, Nr. 20 (12.05.2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.
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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.
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Sarıkaya, Nazım. „Dionysosçu Ritüeller ve Antik Yunan Tiyatrosunda Karşıtlıkların Biraradalığı“. Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi, Nr. 29 (27.12.2019): 17–41. http://dx.doi.org/10.26650/jtcd.643497.
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Gontarski, Stanley. „The theater is always dying“. Acta Universitatis Lodziensis. Folia Litteraria Polonica 59, Nr. 4 (30.12.2020): 191–209. http://dx.doi.org/10.18778/1505-9057.59.11.
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The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.
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Wilson, Peter J. „Demosthenes 21 (Against Meidias): democratic abuse“. Proceedings of the Cambridge Philological Society 37 (1992): 164–95. http://dx.doi.org/10.1017/s0068673500001577.
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The title given to speech number twenty-one of Demosthenes at some time in antiquity, although surely not by Demosthenes himself, isΚΑΤΑ ΜΕΙΔΙΟΥ ΠΕΡΙ ΤΟΥ ΚΟΝΔΥΛΟΥ–‘Against Meidias, concerning the punch’. This refers of course to the punch on the cheek which Demosthenes received from Meidias in the very orchestra of the theatre of Dionysos at Athens on the day of the competition in the men's dithyramb, in which Demosthenes waschorēgosfor hisphylē, Pandionis, at the Great Dionysia of 348 B.C. – an act of physical abuse perpetrated under the gaze of ‘more than 30,000 Greeks’ – (that is the Platonic Sokrates' exaggeration, not mine) – in that place and at that time of maximum Athenian self-regard. The act which forms the ostensible basis of Demosthenes' case is thus self-evident: for by the powerful trope of the homogeneity across time and place of the Atheniandēmos, the spectators who were in the theatre on that day are identical to those citizens at the subsequentekklēsiawhich met (also in the theatre) to hear complaints arising from the conduct of individuals at the festival, and they are the same men empanelling the court today. They booed and hissed Meidias in the theatre, passed a preliminary motion against him in theekklēsiaand so, today, their course of action is clear.
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Brazil, Daisy. „Dionysus in the Dungeon“. Crossings: An Undergraduate Arts Journal 4, Nr. 1 (07.07.2024): 32–37. http://dx.doi.org/10.29173/crossings265.
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Since The Birth of Tragedy, Frederich Nietzsche’s theories have completely changed the landscape of theatre analysis. Even as tragedy as a genre has declined in popularity in recent years, his writings on tragedy remain relevant. The framework of The Birth of Tragedy has been used to reevaluate many different works, from the Greek classics to cartoons. I will explore how the Apollonian and Dionysian duality manifests in contemporary theatre, using David Ives’ Venus in Fur as an example of an effective use of this duality, while also examining the ways in which relying on it can stunt character development in the writing process.
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Rogers, Megan. „Actors of Dionysus“. Journal of Classics Teaching 20, Nr. 40 (2019): 35–36. http://dx.doi.org/10.1017/s205863101900031x.
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Actors of Dionysus (aod) is a charity and theatre company with 26 years of experience of creating radical adaptations of Ancient Greek drama and new writing productions inspired by myth. Since 1993 we have toured over 50 productions nationally and internationally, performed to over 750,000 people and become the UK's leading interpreters in this field.
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Tsiampokalos, Theofanis. „Regenwolken über dem Dionysos-Theater?“ Mnemosyne 75, Nr. 2 (23.12.2021): 356–60. http://dx.doi.org/10.1163/1568525x-bja10104.
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Evans Romero, Constance. „Ancient ecstatic theater and Analytical Psychology: creating space for Dionysus“. International Journal of Jungian Studies 9, Nr. 2 (04.05.2017): 75–83. http://dx.doi.org/10.1080/19409052.2017.1306332.
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ABSTRACTThis paper explores links between the theatrical aspect of the Dionysian archetype and Analytical Psychology. It looks at some of the Dionysian elements in Jung’s published work and follows up with a brief exploration into how some of the potentially generative aspects of the archetype continue to be suspect in current clinical practice. Plutarch’s historic anecdote about the first actor, Thespis, and his dialogue with the Athenian Magistrate, Solon, will provide a focus with which to explore Dionysian elements within the Individuation process. A final section includes a short case history illustrating Dionysian elements unfolding in the theater of Jungian analysis.
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Guardenti, Renzo. „L’Archive Dionysos: une approche méthodologique à l’iconographie théâtrale“. Studia Universitatis Babeş-Bolyai Dramatica 66, Nr. 2 (30.10.2021): 29–46. http://dx.doi.org/10.24193/subbdrama.2021.2.03.
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"The Dionysos Archive: a Methodological Approach to Theatre Iconography. The article illustrates the Dionysos Digital Archive of Theatrical Iconography, created by the research team of the University of Florence directed by Renzo Guardenti. The Dionysos Archive collects more than 22,000 images accompanied by cataloguing files, relating to the history of Performing Arts from Greek theatre to the first decades of the 20th century. The cataloguing of the images contained in the archive is based on criteria aimed at highlighting their theatrical specificity and responds to a historiographic perspective that privileges the visual dimension of the Performing Arts, of which iconographic documentation constitutes a source of primary importance. Keywords: theatre iconography; history of theatre; performing arts; digital archive; cataloguing "
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Muradyan, Goar Sarkisovna. „Greek tragedians in ancient and medieval Armenia“. Shagi / Steps 10, Nr. 2 (2024): 225–33. http://dx.doi.org/10.22394/2412-9410-2024-10-2-225-233.
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1. А Greek inscription found in Armavir (Armenia) written probably in the 2nd c. BC in a script close to papyrus cursive, contains a fragment from a tragedy similar in style to Euripides. 2. Plutarch writes that the Armenian king Artavazd (Artavasdes) II (55–34 BC) wrote tragedies. He also tells that after the battle of Carrhae in 53 BC Crassus was beheaded and his head was taken to Armenia and cast into the hall, as the head of Pentheus, where, at the court of Artavazd, a tragic actor was singing a part of the Bacchae of Euripides. 3. The plot of Euripides’ lost tragedy The Daughters of Pelias is the subject matter of one of the “refutation” exercises (ἀνασκευή) in the old Armenian rhetorical handbook Book of Chreia — in part a translation from the second half of the 5th c., based օn the Progymnasmata of Aphthonius of Antioch (late 4th c.). 4. The Art of Grammar by Dionysius Thrax was translated into Armenian in the 2nd half of the 5th c. Between the 6th and 17th centuries, about a dozen of Armenian commentaries on this work were written. The commentators mention the connection of tragedy with Dionysus, the inventor of wine, the iambic meter characteristic of tragedy, and that the word itself means “goat-song”. 5. While there was a noticeable interest in Greek theatre during the Hellenistic period of pre-Christian Armenia, there are few medieval testimonies regarding this matter in medieval times. The learned author Grigor Magistros (11th c.) is an exception: he mentions Euripides several times.
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Goldberg, Sander M. „Plautus on the Palatine“. Journal of Roman Studies 88 (November 1998): 1–20. http://dx.doi.org/10.2307/300802.
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It was probably in the agora at Athens and possibly in the seventieth Olympiad (i.e. 499–496 B.C.) that a wooden grandstand collapsed while a play by Pratinas was being performed. The Athenians responded quite sensibly to this disaster by moving their dramatic performances to the precinct of Dionysus Eleuthereus, where the audience could be more safely accommodated on the south slope of the acropolis. Or so it appears: no fact of this early period in ancient theatre history is ever entirely secure. By the time of Aeschylus, however, what we call the Theatre of Dionysus was certainly the place where Athenian tragedies and comedies were performed, and the facility grew in size and grandeur along with the festivals it served. One result of this continuity has been a great boon to the performance-based criticism of Greek drama.
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Green, Robert A. „Aristophanes, Rameau andPlatée“. Cambridge Opera Journal 23, Nr. 1-2 (Juli 2011): 1–26. http://dx.doi.org/10.1017/s0954586712000043.
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AbstractRameau'sPlatéeowes much more to Aristophanes' comedyThe Frogsthan the frog chorus. The main character inThe Frogs, Dionysus, may well have been the inspiration for many of the traits of the nymph Platée. Both rule over wetlands and their inhabitants, and both are subjected to extensive mockery. While Dionysus is a divine patron of the theatre, Platée is a visual metaphor for opera. Dionysus, disguised as Heracles, fails to measure up to the hero, exhibiting cowardly behaviour and physical weakness, just as Platée fails to speak and act as a satisfactory operatic heroine, the model for which is, arguably, Lully's Armide. The parodic elements in the debate between Aeschylus and Euripides over the nature and function of tragedy resonate with the parody oftragédie lyriquewhich lies at the heart of Rameau's opera.
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Koutsoudaki, Mary. „Ο μύθος του Ορφέα στο θεατρικό έργο του Tennessee Williams“. Σύγκριση 11 (31.01.2017): 69. http://dx.doi.org/10.12681/comparison.10766.
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Τ Williams' use of Dionysicism is evident in his theater. A very interesting sample of this use can be found in Battle of Angels, Orpheus Descending, Camino Real and Suddenly Last Summer. These plays present various treatments of the ritual and the myth in the playwright's effort to give a universal meaning to the plights of modern man. The Orphic identity of Dionysus is predominant in Battle of Angels (1940), which was one of Williams' favorite plays. The use of Orphic Dionysicism expresses the playwright himself who believed that Battle of Angels was «coming directly from his heart as an expression of fundamental human hungers». It has been often labelled as «the root Williams play, a powerful mixture of sex, violence and religion». He revised it on and off for seventeen years before its mature version, Orpheus Descending, appeared in 1957. Both plays tell us about the advent of the Orphic hero to a city of the American South, the revival that he brings and his death-«sparagmos» that is commemorated by the inclusion of the snakeskin jacket in the local museum. In these plays, springsummer is followed by autumn-winter, and there is no continuation of the ritual, no god's resurrection and no coming of the following spring. Battle of Angels and Orpheus Descending could therefore be classified as Williams' non-regenerative plays in the sense that they do not follow the cyclical pattern of the Dionysiac death and rebirth.
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Des Bouvrie, Synnøve. „Creative Euphoria. Dionysos and the Theatre“. Kernos, Nr. 6 (01.01.1993): 79–112. http://dx.doi.org/10.4000/kernos.538.
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Mojsik, Tomasz. „Hermippus FGrH 1026 F84: Dionysius I, the theatre and the cult of the Muses in Syracuse“. Klio 99, Nr. 2 (07.02.2018): 485–512. http://dx.doi.org/10.1515/klio-2017-0034.
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Summary: In the current essay, I focus on the issues related to the origins and functions of a cult of the Muses in Syracuse. The research hypothesis may be defined as follows: the cult of the Muses appeared or already existed in Syracuse at the end of the 5th or at the beginning of the 4th century at the latest, and it was connected with the theatre. It is also very plausible that there is a connection between a place of cult and the practice of collecting mementos of famous authors. The question is inseparably linked with the interpretation of a passage written by Hermippus of Smyrna, the assessment of the parallel testimony given by Lucian, and the evaluation of the reasons behind the actions of Dionysius I described there. Thus, the present article aims at providing a proper context in which the information recounted by Hermippus might seem probable and Dionysius' motives – understandable.
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Chondros, Thomas G., Kypros Milidonis, George Vitzilaios und John Vaitsis. „“Deus-Ex-Machina” reconstruction in the Athens theater of Dionysus“. Mechanism and Machine Theory 67 (September 2013): 172–91. http://dx.doi.org/10.1016/j.mechmachtheory.2013.04.010.
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Remshardt, Ralf Erik. „Dionysus in Deutschland: Nietzsche, Grüber, and The Bacchae“. Theatre Survey 40, Nr. 1 (Mai 1999): 31–49. http://dx.doi.org/10.1017/s0040557400003264.
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In 1974, the maverick German director Klaus-Michael Grüber created a remarkable (and much remarked-upon) production of Die Bakchen (The Bacchae) at Berlin's Schaubühne theatre. It was then, and remains to date, the most significant German-language production of, and indeed one of the very few attempts to stage, Euripides' final play in Germany. This essay will attempt to trace the history of German abstention fromthe play and analyze how Grüber's Bacchae responded to that history of ambivalence and neglect, for what was played out in Grüber's mise-en-scène was not only the conflict between Pentheus and Dionysus for the soul of Thebes, but indeed, upon the rapidly shifting cultural and political ground of West Germany, a deeper conflict between mimesis and authenticity, presence and representation, and the soul of the theatre. The first volley in this conflict had been fired more than one hundred years before by Friedrich Nietzsche.
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Plácido Suárez, Domingo. „Los festivales dionisíacos: entre el gozo, el dolor y la gloria“. ARYS: Antigüedad, Religiones y Sociedades, Nr. 13 (05.10.2017): 61. http://dx.doi.org/10.20318/arys.2017.2749.
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Resumen: En Atenas, el escenario principal en época clásica era el teatro de Dioniso, vinculado al culto de este dios, lo que se ve transpuesto a los héroes en el desarrollo de la ciudad, en el paso de los cultos agrarios a fiestas cívicas, en un proceso de integración relacionado con las tiranías.Dioniso es el que ha dado a los hombres alegría y dolor, según Hesíodo. Él mismo es pues personificación de las contradicciones de la vida misma, en la que es difícil hallar el gozo en estado puro. Pero existía antes un culto heroico que se integra en las ciudades en su formación como poleis.Abstract: In Athens, the main stage in classical times was the theatre of Dionysus, linked to the worship of this god. This is transposed to the heroes in the development of the city, in the transition from the agricultural cults to civic celebrations, in an integration process relatedto the tyrannies. Dionysus is who has given to men joy and pain, according to Hesiod. It is thus a personification of the contradictions of life itself, in which it is difficult to find joy in its purest form. But before there was a heroic cult which is integrated in the cities in their formation as poleis.Palabras clave: Dioniso, teatro, culto heroico, cultos agrarios, poleisKey words: Dionysus, theatre, heroic cults, agricultural cults, poleis
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Avramidou, Amalia. „Theater and Dionysiac Cult on Samothrace and Its Peraia“. American Journal of Archaeology 126, Nr. 1 (01.01.2022): 5–29. http://dx.doi.org/10.1086/718185.
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Fletcher, Judith, und Jennifer Wise. „Dionysus Writes: The Invention of Theatre in Ancient Greece“. Phoenix 54, Nr. 1/2 (2000): 146. http://dx.doi.org/10.2307/1089097.
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Storm, W. „Dionysus Writes: The Invention of Theatre in Ancient Greece“. Comparative Literature 52, Nr. 4 (01.01.2000): 363–66. http://dx.doi.org/10.1215/-52-4-363.
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Kolankiewicz, Leszek, und Mirosław Rusek. „Kaddish“. TDR: The Drama Review 66, Nr. 1 (März 2022): 137–44. http://dx.doi.org/10.1017/s1054204321000794.
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Ludwik Flaszen was the cofounder and literary adviser of the Polish Laboratory Theatre, and a collaborator of Jerzy Grotowski. This Jewish kaddish and Dionysian dithyramb offers a glimpse of his life and work.
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Brancaccio, Pia, und Xinru Liu. „Dionysus and drama in the Buddhist art of Gandhara“. Journal of Global History 4, Nr. 2 (Juli 2009): 219–44. http://dx.doi.org/10.1017/s1740022809003131.
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AbstractThis essay examines the relationships existing between Dionysian traditions of wine drinking and drama that reached the easternmost part of the Hellenistic world, and the Buddhist culture and art that flourished in Gandhara (Eastern Afghanistan and Northern Pakistan) under the Kushan kings between the first and third centuries CE. By piecing together archaeological, artistic and literary evidence, it appears that along with viniculture and viticulture, Dionysian rituals, Greek theatre and vernacular drama also became rooted in these eastern lands. Continuous interactions with the Graeco-Roman world strengthened these important cultural elements. At the beginning of the Common Era Dionysian traditions and drama came to be employed by the Buddhists of Gandhara to propagate their own ideas. The creation of a body of artworks representing the life of the Buddha in narrative form along with the literary work of Ashvaghosha, may be an expression of the same dramatic format that developed locally along with a strong Dionysian ritual presence.
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Salata, Kris. „Polish Theatre after the Fall of Communism: Dionysus since ’89“. Polish Review 66, Nr. 3 (01.10.2021): 120–22. http://dx.doi.org/10.5406/polishreview.66.3.0120.
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Scully, Stephen. „Orchestra and Stage in Sophocles: Oedipus Tyrannus and the Theater of Dionysus“. Syllecta Classica 10, Nr. 1 (1999): 65–86. http://dx.doi.org/10.1353/syl.1999.0002.
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Schechner, Richard. „Theory and Practice of the Indeterminate Theatre“. New Theatre Quarterly 5, Nr. 20 (November 1989): 348–60. http://dx.doi.org/10.1017/s0266464x00003663.
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Richard Schechner has recently come full circle back to the editorship of The Drama Review, which he earlier transformed from a quietly respected academic journal into the voice of American avant-garde theatre between 1962 and 1969. By this time, he had also joined the Drama faculty of New York University, where he still teaches, and created the Performance Group, for whom his productions included Dionysus in '69, Makbeth. The Tooth of Crime. Oedipus, and The Balcony. His early advocacy of environmental theatre, celebrated in his book of that name in 1973, developed into his present concern with theatre anthropology, the focus of his recent study. Between Theatre and Anthropology, discussed by Eugenio Barba in NTQ10 (1987). In October 1988 Schechner contributed to the Leicester conference ‘Points of Contact: Theatre. Anthropology, and Theatre Anthropology’, and there Nick Kaye discussed with him the relationship between his practical and theoretical work, its evolution, and the influences upon it–also looking in more detail at his most recent production, a performance combining Don Juan and Don Giovanni.
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Pinder, John Yves. „Locating the Impolitical in American Theatre: Albee’s Who’s Afraid of Virginia Woolf? and Schechner’s Dionysus in 69“. New Theatre Quarterly 38, Nr. 2 (20.04.2022): 172–85. http://dx.doi.org/10.1017/s0266464x22000069.
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This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.
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Noël, Daniel. „Ismene Lada-Richards, Initiating Dionysus. Ritual and Theatre in Aristophanes’ Frogs“. L'Homme, Nr. 158-159 (01.01.2001): 421–24. http://dx.doi.org/10.4000/lhomme.6477.
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Tsakmakis, Antonis. „Ismene Lada-Richards: Initiating Dionysus. Ritual and Theatre in Aristophanes’ Frogs“. Gnomon 77, Nr. 3 (2005): 193–96. http://dx.doi.org/10.17104/0017-1417_2005_3_193.
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Steiner, Deborah. „Dionysus Writes: The Invention of Theatre in Ancient Greece. Jennifer Wise“. Classical Philology 95, Nr. 2 (April 2000): 229–32. http://dx.doi.org/10.1086/449492.
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Poehlmann, Egert. „Epicharmus and Aeschylus on Stage in Syracuse in the 5th Century“. Greek and Roman Musical Studies 3, Nr. 1-2 (09.02.2015): 137–66. http://dx.doi.org/10.1163/22129758-12341005.
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New excavations give clear information about the Athenian Dionysus-Theatre of the 5th century b.c.; and the stage in Western Greece can now be reconstructed by analogy with it. Vase paintings depict wooden theatres in Sicily from 400 b.c. onwards, mainly for comedy. Tragedies were performed only after 476/5 b.c., but the lively tradition of comedy since the late 6th century b.c. must have had a stage. For Epicharmus’ short comedies, which had no lyrics or chorus and were addressed to the elite of Hieron’s court, the small theatre carved into the slope of the Temenites rock was sufficient. But the performances of Aeschylus’ Aitnaiai and Persians were politically motivated productions addressed to the whole Syracusan demos; they required a chorus, and space for large audiences. The form of the theatre and its wooden stage building, designed by Damokopos Myrilla, can be hypothetically reconstructed by analogy with their Athenian counterparts.
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Calder, William M. „Vita Aeschyli 9: Miscarriages in the Theatre of Dionysos“. Classical Quarterly 38, Nr. 2 (Dezember 1988): 554–55. http://dx.doi.org/10.1017/s0009838800037162.
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Anonymous, Vita Aeschyli 9 ( =TGF 3 T Al.30–32 Radt) preserves the following startling report concerning Aeschylus:Some say that at the performance of the Eumenides, by bringing on the chorus one by one, as he did, he terrified the audience so that children swooned and fetuses were aborted.
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Pankratov, V. M. „FEATURES OF THE EVOLUTION OF THE ARCHITECTURE OF THEATER BUILDINGS“. Regional problems of architecture and urban planning, Nr. 16 (23.12.2022): 90–98. http://dx.doi.org/10.31650/2707-403x-2022-16-90-98.
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The article is devoted to a thematic study of the history of the emergence and development of the architecture of theater buildings as a specific area of architectural creativity. Theater buildings have always been located, and are located today, in the public centers of large cities and urban agglomerations. These buildings perform an important cultural and educational function and are distinguished by architectural uniqueness and originality. They play an important organizing role in the architectural ensembles of city streets and squares, emphasizing the prospects of avenues and boulevards. The article gives examples of theatrical buildings of antiquity, the Renaissance, the classical period and theatrical buildings of recent years. The image of the theater of Dionysus in Athens, on the slope of the Athenian acropolis, is used as an image of an ancient theatrical building. The most characteristic example of the Italian Renaissance theater is the Teatro Olimpico in Vicenza, designed by Andrea Palladio in 1580. In the interior of the theater, Palladio imitated the open space of Greek amphitheaters and the architectural style of ancient Rome. The Odessa Opera House can serve as an example of the development of the achievements of theatrical architecture of the 19th century. The most achievements of theatrical architecture of the 19th century. The most striking example of the theater of the 20th century is the Sydney Opera House – a symbol of new architecture created based on new building technologies. The 21st century is represented by more modern buildings: the Walt Disney Concert Hall in Los Angeles, the Poly Grand Theater in Shanghai, the New Philharmonic in Paris. Each building is a certain iconic phenomenon in the history of architecture and opens up new perspectives for rethinking the historical experience of the formation of such buildings. The architects made the most of the entire set of expressive means in order to draw the viewer's attention to the external appearance of the theater. Creating a background for the perception of a theatrical production and forming a sense of the continuity of the cultural space of theatrical art.
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Townsend, Rhys F. „The Fourth-Century Skene of the Theater of Dionysos at Athens“. Hesperia 55, Nr. 4 (Oktober 1986): 421. http://dx.doi.org/10.2307/148177.
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Berberovic, Nadja. „Ritual, Myth and Tragedy: Origins of Theatre in Dionysian Rites“. Epiphany 8, Nr. 1 (02.07.2015): 30. http://dx.doi.org/10.21533/epiphany.v8i1.117.
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Bosher, †Kathryn. „Problems in Non-Athenian Drama: Some Questions about South Italy and Sicily“. Ramus 42, Nr. 1-2 (2013): 89–103. http://dx.doi.org/10.1017/s0048671x00000084.
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As Martin Revermann forecast in 1999, the reception history of Greek drama has become ‘big business’ and, as the present volume demonstrates, we are indeed trying to move beyond the ‘Atheno-centric civic ideology approach to Greek drama, which has, fruitfully, been dominating our mode of thinking for quite some time now'. Nevertheless, like Revermann, I believe that work on the reciprocity between social context and theatre that Nothing to do with Dionysos? Athenian Drama in its Social Context (1990) so well exemplifies has been and continues to be an important approach to the field. Examining plays not simply as literary works, but as integral parts of social and political systems, remains a useful method of inquiry. Indeed, one strand of useful research may build on the work that has been done to situate Greek drama in Athens to ask similar questions about theatre outside Athens.In the case of South Italy and Sicily, the problem is particularly pressing. This is not only because of the traditional separation between the fields of philology, epigraphy, history, archaeology, art history and political science, which made comprehensive examination of theatre as a social and political phenomenon difficult in Athens, but also because of competing histories of the development of theatre in the ancient Greek world. In particular, the history of Athenian theatre, both from the literary perspective and now from the socio-political perspective, is so dominant that it often incorporates into its own narrative what evidence there is for theatre outside Attica. Likewise, from the later period, Roman theatre includes the evidence from Sicily and South Italy into its own history, though to a lesser extent. Nothing to Do with Dionysos? may nevertheless serve as a model for the development of a vital, and still missing, perspective on the theatrical evidence that remains from the West. How did drama and the theatre fit into the socio-political contexts of Greek cities outside Attica? Is it possible to write the history of Sicilian and South Italian theatre, or were these new world cities only recipients of the Attic theatre and stepping stones to that of Rome?I attempt below to set out a few of the questions that, I think, frame the debate. This is a preliminary, tentative examination of some of the problems that arise in this field, and it is not in any way exhaustive.
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HUSKINSON, JANET. „THEATRE, PERFORMANCE AND THEATRICALITY IN SOME MOSAIC PAVEMENTS FROM ANTIOCH“. Bulletin of the Institute of Classical Studies 46, Nr. 1 (01.12.2003): 131–65. http://dx.doi.org/10.1111/j.2041-5370.2003.tb00737.x.
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AbstractThis paper reconsiders four pavements from houses in or around Antioch on the Orontes which are generally recognised to have had some association with plays or the theatre. The ‘Red Pavement’ and the mosaic of ‘Iphigencia’ have been taken to illustrate the texts of particular plays by Euripides; scenes in the ‘House of Dionysus and Ariadne’ show satyrs in theatrical costume; and a triclinium mosaic from the House of Menander portrays the playwright himself. It views them in the light of some current interpretative approaches based on ‘theatricality’ and ‘performance’ and the decoration of houses. Through detailed analysis of each case it shows how their images provide further evidence of the cultural life of Antioch and for the interests and aspirations of elite patrons.
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YILDIRIM, Yaşar Serkal. „Metropolis Resepsiyon Salonu Mozaikleri Üzerindeki Balık ve Kuş Figürleri Üzerine Bir Değerlendirme / Analysis of Bird and Fish Figures on the Reception Hall Mosaics of Metropolis Theatre“. Journal of History Culture and Art Research 5, Nr. 4 (05.01.2017): 181. http://dx.doi.org/10.7596/taksad.v5i4.594.
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<p><strong>Abstract</strong></p><p>7.00 x 8.25 m. measured place which is located between housing ruins in the eastern part of the Metropolis Theatre is called reception hall. This place decorated with colorful mosaics and wall paintings also having a good handcrafted floor is dated back to Roman Empire period. Besides Dionysos, Ariadne, Meinad, and Eros holding a wineglass figures related with Dionysos cult on the mosaic; theatre masks, fish and bird figures all together demonstrate that it could be used as a banquet hall for official invitations during theatre plays. </p><p>These fish and bird figures have great importance to analyze the nutrition habits of antique cities, especially metropolis, which has few materials that could be read. The various fish and bird figures on the reception hall were examined by expert zoologists to try to identify the factors such as, this fish and birds’ species, their habitats and if they were eatable or not. The paper also tries to find out the nutrition habits of Metropolis community using the found data from ancient sources and obtained from this research.</p><p><strong><br /></strong></p><p><strong>Öz</strong></p><p>Metropolis tiyatrosunun doğusunda konut kalıntıları arasında 7.00 x 8.25 m. Ölçülerindeki mekân Resepsiyon Salonu olarak adlandırılmaktadır. Tabanı oldukça iyi bir işçilik gösteren renkli mozaiklerle ve duvar resimleri ile bezenmiş mekân Roma Dönemine tarihlenmektedir. Mozaik üzerinde Dionysos, Ariadne, Meinad ve elinde içki kadehi tutan (kantharos) Eros figürleri gibi Dionysos kültü ile ilişkili figürlerinin yanı sıra tiyatro masklarının, balık ve kuş figürlerinin yer alması, buranın tiyatro gösterileri sırasında resmi davetlerin verildiği ziyafet salonu olarak kullanıldığını düşündürtmektedir.</p><p>Bu balık ve kuş figürlerinin, özellikle okunabilir maddi kalıntıların az olduğu Metropolis gibi antik kentlerdeki toplumların beslenme anlayışının çözümlenmesinde büyük öneme sahiptir. Resepsiyon Salonu mozaiklerindeki çeşitli balık ve kuş figürleri uzman zoologlarla incelenerek balıklar ve kuşların türleri, yaşam alanları ve yenilip yenilmediği gibi unsurlar tespit edilmeye çalışılmıştır. Elde edilen veriler antik kaynaklardaki bilgiler ve ortaya çıkartılan buluntular ile birleştirilerek Metropolis toplumunun beslenme şekli anlaşılmaya çalışılmıştır.</p>
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Davidson, J. F. „The Circle and the Tragic Chorus“. Greece and Rome 33, Nr. 1 (April 1986): 38–46. http://dx.doi.org/10.1017/s0017383500029946.
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It is a well-known and often lamented fact that we know very little about the actual staging of plays in the theatre of Dionysus in the Fifth Century b.c. What snippets of information we do have date from later centuries and may reflect contemporary conditions of performance, or may be mere inference based on fifth-century texts. Even though we can derive considerable comfort from Oliver Taplin's dictum that ‘the Greek tragedians signalled all their significant stage directions in the words’, 2 much that would enhance our knowledge of a fifth-century production remains a mystery.
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Davidson, John. „Prometheus Vinctus on the Athenian Stage“. Greece and Rome 41, Nr. 1 (April 1994): 33–40. http://dx.doi.org/10.1017/s0017383500023172.
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We know very little for certain about the staging of plays in the Theatre of Dionysus at Athens in the fifth century B.C. The evidence of archaeological remains and contemporary vase painting is difficult to interpret with confidence, the reliability of ancient post-classical commentators is questionable, and the texts of the surviving plays, our chief source of evidence, often raise more problems than they solve. Among the plays which have occasioned most controversy in modern scholarship is the Prometheus Vinctus. What was the ‘rock’ to which the hero was bound? In what part of the theatre space was it positioned? How and where did the chorus of Oceanids make their entry? How was the ending of the play staged? Questions such as these continue to perplex students of the play who also have to face the vexed question of its date and indeed authorship.
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Matveychev, Oleg A. „The Image of Apollo in the Philosophical Work of Akim Volynsky“. Voprosy Filosofii, Nr. 11 (2022): 130–42. http://dx.doi.org/10.21146/0042-8744-2022-11-130-142.
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For the significant part of his creative life A.K. Volynsky turned to the image of Apollo, first, as a cultural metaphor rooted in the famous Nietzsche dyad of Apollonian/Dionysian and characterizing a certain type of culture and way of thinking. The critic sees the guarantee of the birth of a new Russia in overcoming the eternal Russian Dionysism and the affirmation of Apollo. The academic interest in the figure of Apollo was inspired by Volynsky’s activities in the field of theatre and ballet criticism. Volynsky refers to the ballet itself as formalized plastic art to the “kingdom of Apollo”. In the later works of Volynsky, Apollo acquires a new function, personifying a historically specific civilization – Hyperborea, that he considered in the spirit of the Arctic hypothesis fashionable in those years, as the cradle of the Aryan civilization. This is where the Hyperboreans, not yet divided into nations, expanded into Europe and became the ancestors of many peoples. To establish the directions of their expansion, Volynsky draws on Apollo cult spread history, a god whose image has been associated with Hyperborea since ancient times; he traces the stages of transformation of his image on Greek land – from the “heavenly commander” to the god of purity, clarity, measure, order. In the cult of Apollo, the critic discovers Semitic features and the memory of the original Hyperborean monotheism. According to Volynsky, it was the Semites who managed to preserve the features of the most ancient ancestors of European peoples – the Hyperboreans, as well as monism as a fundamental principle of their thinking. In the spirit of Russian cosmism, the thinker prophesies about the coming era of the “new Apollo” – a man of integral consciousness and universal rationality, who will live forever.
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Johnson, Odai. „DIONYSUS IN 1769: DESIRE AND SUBLIMATION IN THE ENGLISH THEATRE—A GOTHIC TALE“. Theatre Survey 51, Nr. 1 (26.04.2010): 65–93. http://dx.doi.org/10.1017/s0040557410000220.
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Edmond, Murray. „A Saturated Time: Three Festivals in Poland, 2007“. New Theatre Quarterly 24, Nr. 4 (November 2008): 307–21. http://dx.doi.org/10.1017/s0266464x08000468.
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What different kinds of festival are to be found on the ever-expanding international circuit? What companies are invited or gatecrash the events? What is the role of festivals and festival-going in a global theatrical economy? In this article Murray Edmond describes three festivals which he attended in Poland in the summer of 2007 – the exemplary Malta Festival, held in Poznan; the Warsaw Festival of Street Performance; and the Brave Festival (‘Against Cultural Exile’) in Wroclaw – and through an analysis of specific events and productions suggests ways of distinguishing and assessing their aims, success, and role in what Barthes called the ‘special time’ which festivals have occupied since the Ancient Greeks dedicated such an occasion to Dionysus. Murray Edmond is Associate Professor of Drama at the University of Auckland, New Zealand. His recent publications include Noh Business (Berkeley: Atelos Press, 2005), a study, via essay, diary, and five short plays, of the influence of Noh theatre on the Western avant-garde, and articles in Contemporary Theatre Review (2006), Australasian Drama Studies (April 2007), and Performing Aotearoa: New Zealand Theatre and Drama in an Age of Transition (2007). He works professionally as a dramaturge, notably for Indian Ink Theatre Company, and has also published ten volumes of poetry, of which the most recent is Fool Moon (Auckland: Auckland University Press, 2004).