Public and Performance in the Greek Theatre
Peter Arnott discusses Greek drama not as an antiquarian study but as a living art form. He removes the plays from the library and places them firmly in the theatre that gave them being. Invoking the practical realities of stagecraft, he illuminates the literary patterns of the plays, the performance disciplines, and the audience responses.
Each component of the productions - audience, chorus, actors, costume, speech - is examined in the context of its own society and of theatre practice in general, with examples from other cultures. Professor Arnott places great emphasis on the practical staging of Greek plays, and how the buildings themselves imposed particular constraints on actors and writers alike. Above all, he sets out to make practical sense of the construction of Greek plays, and their organic relationship to their original setting.
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acting action Aeschylus Agamemnon Aigeus Alcestis ancient Antigone Apollo appear Aristophanes Aristotle assume Athenian Athens audience Bacchae beginning body Cadmus century characters choral chorus Clytemnestra comedy comic costume Creon dance dead death debate dialogue Dikaiopolis Dionysus dramatic dramatist Electra Eumenides Euripides example familiar father festival ﬁfth ﬁfth-century ﬁgure ﬁnd ﬁre formal Frogs Furies gesture Greek actors Greek theatre Greek tragedy hand Hecuba Heracles Hippolytus identiﬁed Iphigeneia Jason justiﬁes kill language Libation Bearers logic Madness of Heracles mask Medea modern murder Odysseus Oedipus at Colonus Oedipus the King off-stage offers once opening orchestra Oresteia Orestes palace pattern Pentheus performance perhaps Persians play’s playwright plot Polymestor prologue Prometheus Bound protagonist Quintilian rhetoric robes role sacriﬁce scene seems seen signiﬁcant skene Socrates Sophocles speak speciﬁc speech stage story Strepsiades suggests Teiresias tells Thebes Theseus things tragic trilogy Trojan voice women words Zeus