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图书馆 | 资料类型 | 排架号 | 子计数 | 书架位置 | 状态 | 图书预约 |
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正在检索... Science | Book | 792.09376 R 661S, 1996 | 1 | Stacks | 正在检索... 未知 | 正在检索... 不可借阅 |
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摘要
摘要
Traditional theater in the Roman world depicted powerful emotions and political ideals that were often the norm in Roman society. Although modern historians have only a hazy perception of performances during both Republic and Empire, testimony to the greatness of the epoch's theater lies in the ruins that stretch across the expanse of the great "vanished empire."
William Slater's new volume Roman Theater and Society brings an important perspective to the much-maligned status of the Roman theater, which has only recently been reappraised and appreciated as uniquely Roman rather than criticized for not being Greek. From this point of embarkation, William Slater and the nine contributors discuss theater in Rome and the Greek east with a definition of performance incorporating not only stage performances but also dinnertime entertainment, sporting events, and political events. Contributors are T. D. Barnes, K. M. Coleman, J. C. Edmonson, E. R. Gebhard, J. R. Green, E. J. Jory, W. D. Lebek, and D. S. Potter.
Individual chapters combine literary evidence with archaeological, thereby engendering a deeper appreciation for the social and political roles of Roman theater. It becomes clear that these roles were of great influence in giving voice to the popular demands of the average Roman. In examining the roles of theater the contributors turn to the players and audience themselves for deeper understanding.
Roman Theater and Society will be of great interest to classicists, theater specialists, and anyone interested in the interplay among plays, theaters, and the people on stage and in the audience.
William J. Slater is Professor of Classics, McMaster University.
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Four of the seven essays assembled here contain material well worth consideration by even the most casual of theater historians. E.J. Jorey's "The Drama of the Dance" covers seldom-explored territory. W.D. Lebek's "Moneymaking on the Roman Stage" opens a welcome window on material considerations too often ignored by historians of the arts. T.D. Barnes, in "Christians and the Theatre," moves well beyond standard scholarship on this topic. In "Theatre and the City," Elizabeth R. Gebhard wanders away from the volume's titular topic: probably unaware of usurping the title of Ludovico Zorzi's Il teatro e la citta (1977), she offers an interesting account of nonperformance uses of Roman theaters. The remaining three articles drift even further way from the subject, due to perennial confusion between the activities of theater and of amphitheater. The latter, despite the frequent presence of scenographic display, featured spectator sports as opposed to fictional presentation proper to theater. K.M. Coleman's "Ptolemy Philadelphus and the Roman Amphitheatre" and J.C. Edmondson's "Dynamic Arenas ..." deal strictly with games, an area sidereal to theatrical scholarship; David Potter's "Performance, Power, and Justice in the High Empire," although quite interesting, deals strictly with nontheatrical matters. Upper-division undergraduates and up. T. A. Pallen Austin Peay State University