the greek theatre and festivals documentary studies aug 2007

[...]... 238, 417) 6 For further discussion of these issues see the contributions to Go (1995) and Pelling (1997) 5 Peter Wilson 3 recognition of the specicity and complexity of the material conditions of dramatic production as they varied over time and place; and the recognition of the importance of close contact with the raw data relating to the organisation and operation of theatre and festivals Attention... volume seeks to move the centre of attention away from Athens and away from the Classical period, so too it cumulatively makes the case for studying the history of the dramatic genres alongside those with which they shared their theatres, and often their festivalsin particular the dithyramb, but also other musical performances such as song to the kithara, instrumental kithara-playing and the various crafts... sidelined in the recent proliferation of integrated studies of festivals like the Panathenaia and Dionysia that have shown very fruitfully how the various constituent elements and the dynamic structures of these festivals including their prominent agonistic performanceswere vital to Peter Wilson 9 the formation and development of Athenian collective and group identities.14 The Thargelia has suered from the. .. and conventions of ancient Greek open-air, communal, religious theatre In the 1980s and beyond the paradigm shifted to more broadly political and social contexts, largely under the inuence of the so-called Paris School of Vernant and Vidal-Naquet, with its many successors.2 This approach has for instance revealed how the theatre was a sounding-board for the deepest and most intractable issues of Athenian... (purely exempli gratia): the major re-edition and analysis of the documents relating to the Tekhnitai of Dionysos by Le Guen (2001a) and Aneziri (2003); Le Guen (2001b) on theatre in the islands; Ceccarelli (1995) on the Koan Dionysia, to which the ongoing publications of Parker and Obbink (cf 2000, 2001a, 20001b) will add further material Important studies of the spread of theatre: Easterling (1994);... contributions have updated some aspects of these fundamental works, or presented elements of the material with signicant new analysis, there remains a real need to energise the study of the documentary base of the Greek theatreand the same is true of the performance culture of Greek festivals more broadlyfrom the ground up This volume is a rst step in such a project To this end, the parts into which this book... members of the theatre- community at Assembly meetings held in the theatre after the Dionysia); Palles (2003); Latini (2003); Summa (2003a), (2003b), (2004) Summa, who is engaged on the IG II3 project, also promises work on the deme material Wilson and Csapo have embarked on a project (funded by the Australian Research Council) to write a new social and economic history of the Classical theatre, on the basis... of the Classical theatre of Dionysos in Athens, with some Lykurgan additions H Goette 117 Cross-section indicating Doerpfelds excavation trench through the seating area of the theatre of Dionysos in Athens H Goette 119 Model reconstruction of the Classical theatre of Dionysos in Athens Photograph courtesy of the Theatermuseum, Munich 121 Marble base for supporting choregic tripod, with Dionysos and. .. three-pronged approach The rstFestivals and Performers: Some New Perspectivesrecognises the need for venturing broad overviews on some of the big-picture questions The secondFestivals of Athens and Atticaconstitutes a call to reinvigorate the study of the familiar material from the metropolis of theatre by asking new questions of it, by recombining its elements in unfamiliar and productive ways, and by integrating... Graecae I and II is not far distant; a number of interpretative studies heavily dependent on the relevant elements of it have recently appeared, and new nds continue to be made.13 The contributors to the second part of this volume all treat Athenian material in new ways Eric Csapo assembles for the rst time the dossier of epigraphic and other evidence for the neglected gure of the theatre- lessee, and makes . in the Hellenistic Period and Artists’ Participation: An Attempt at Classification 67 Sophia Aneziri PART II. FESTIVALS OF ATHENS AND ATTICA 4. The Men Who Built the Theatres: Theatropolai, Theatronai,. trench through the seating area of the theatre of Dionysos in Athens. H. Goette. 119 Figure 3 Model reconstruction of the Classical theatre of Dionysos in Athens. Photograph courtesy of the Theatermuseum,. 1986. Abbreviationsxviii Introduction: From the Ground Up Peter Wilson The Greek and above all, the Attic– theatre is probably the single most intensively studied institution from the ancient world. And, over the last thirty