By Melinda Powers
A case examine of Euripides’s Bacchae, which gives additional information approximately functionality than the other extant tragedy, demonstrates attainable equipment for reconstructing the play’s ancient functionality and likewise the inevitable demanding situations inherent in that activity, from the constrained assets and the trouble of examining visible fabric, to the hazards of conflating actor with personality and extrapolating backward from modern theatrical experience.
As an inquiry into the examine of theatre and function, an creation to old writing, a reference for extra analyzing, and a explanation of numerous common misconceptions approximately Athenian tragedy and its functionality, this historiographical research could be precious to experts, practitioners, and scholars alike.
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Additional resources for Athenian Tragedy in Performance: A Guide to Contemporary Studies and Historical Debates
I then discuss the problem of assessing individual audience response through a consideration of David Kawalko Roselli’s Theater of the People: Spectators and Society in Ancient Athens (2011), a study that questions the common practice of constructing a singular view of a homogenized audience comprised of citizen males. In the final section of this chapter, I use my historiographical lens to explore the issue of homogenizing the audience that emerges in three distinct interpretations of Bacchae’s dressing-up scene, by Helene P.
He simply declares that such responses are limitless. Even when theatre scholars do recognize and appreciate the impor tance of individual perspectives, documenting them is a struggle. How can one acknowledge fully the ways in which individual spectators are active participants? What model could recognize, within the diversified demographics and target groups, the individuals whose ephemeral emotions and reactions together with their cultural, historical, and individual positioning create the theatrical event?
Goldhill’s “Representing Democracy”: Synchronic Approaches Whereas Henderson focuses primarily on a close study of the event in the theatre and its related evidence, Goldhill takes a synchronic approach to the question and considers the framing institutions of politics and society that contribute to the identity of the Dionysian festival. Insisting that his interest is “in historiography as much as in the Realien,” 28 he shifts the focus in his investigation from an analysis of familiar sources and issues to one of underlying concerns, such as the questions asked, the sources used, and the methods for examining them.