Module 2. Part 1 - Roman Theatre.pptx

R E AT E TH A N M RO SOCIO-CULTURAL CONTEXT Rome was founded in 753 BCE It founded a republic in 509 BCE Territorial expansion between 270-240 BCE Entertainment was not solely relegated to theatre. Other forms of entertainme...

R E AT E TH A N M RO SOCIO-CULTURAL CONTEXT Rome was founded in 753 BCE It founded a republic in 509 BCE Territorial expansion between 270-240 BCE Entertainment was not solely relegated to theatre. Other forms of entertainment flourished such as acrobatics, trained animals, jugglers, athletic events, music and dance. SOCIO-CULTURAL CONTEXT 1 2 3 4 5 By 146 BCE, Romans Romans were Horace’s The Art Roman art was Rome had embraced uninterested in of Poetry served grandiose, conquered Grecian artistic theoretical as a manual on sentimental, Greece and forms questions, but writing good plays diversionary absorbed its other they were among – five-act plays; territories the greatest teach and please; engineers, military unity, grace and tacticians, and decorum administrators REPUBLIC VS EMPIRE 509-27 BCE 27 BCE-476 CE Discipline, economy, Power from endurance, military representatives to precision, loyalty the emperor Drama prospered Drama was abandoned MAP OF ROME AS A REPUBLIC MAP OF ROME AS AN EMPIRE ROMAN FESTIVALS Ludi – official religious festivals Pompa – religious procession Munera – honorary festivals Ludi Romani – oldest of the festivals in honor of Jupiter every September. The festival started in 6th century BCE Various types of performances – 364 BCE; Tragedy and comedy – 240 BCE ROMAN FESTIVALS Ludi Plebeii - every November; added plays in 200 BCE Ludi Apollinares – every July; started in 212 BCE Ludi Megalenses – added entertainment after 194 BCE Ludi Florales – every April/May; added mimes after 194 BCE Ludi Ceriales – every April since it was founded in 202 BCE 200 BCE – 4-11 performances 190 BCE – 7-17 performances 150 BCE – 25 performances  IC M S O C HT N A R I G M W O R AY PL LIVIUS ANDRONICUS Birth of Roman literature He may have come to Rome as a prisoner of war but was later freed Originally from Tarentum, a Greek territory in Southern Italy Known for his tragedies more than his comedies GNAEUS NAEVIUS (270-201 BCE) The first native playwright Began writing in 235 BCE Known for his comedies more than his tragedies Added Roman allusions into Greek originals and wrote plays on Roman stories TITUS MACCIUS PLAUTUS (254-184 BCE) First important successor to Livius Andronicus and Naevius in comedy 130 plays were attributed to him The Comedy of Asses, The Merchant, The Braggart Warrior Admired for his Latin dialogue, varied poetic meters, and witty jokes PUBLIUS TERENTIUS (195/185-159 BCE) Born in Carthage, brought to Rome as a slave, educated then freed All his six plays survived – Andria, Mother-in-Law, Self-Tormentor, Eunuch, Phornio, and The Brothers Adapted and combined Greek originals in a singe play Applauded for his character treatment and double plots which provided contrasts in human behavior OTHER COMIC WRITERS AND ELEMENTS Caecilius Statius (219-168 BCE) - Considered by Roman critics as the greatest comic playwright Marcus Atilius, Aquilius, Lucius Lanuvinus, and Sextus Turpilius Fabula palliata – comedies based on Greek subjects Fabula togata – comedies based on Roman subjects Elimination of the chorus; heavily relied on musical accompaniment; scenes happened outdoors; and eavesdropping is common  IC A G R T H T S N A R I G M W O R AY PL TRAGIC PLAYWRIGHTS OF THE REPUBLIC There were only three recorded Roman tragedians from 200-75 BCE Quintus Ennius, Marcus Ocuvius, Luccius Accius Fabula crepidata – tragedies based on Greek originals Fabula praetexta – tragedies based on Roman subjects LUCIUS ANNAEUS SENECA (5/4 BCE-65 CE) Seneca’s works were the only ones to have survived from this period Famous for his works in philosophy and rhetoric The Trojan Women, Medea, Oedipus, Phaedra, Thyestes, Hercules on Oeta, The Mad Hercules, The Phoenecian Women, and Agamemnon Octavia - only surviving fabula praetexta INFLUENCE OF SENECA’S TRAGEDIES Divided into five episodes by choral interludes only loosely related to the action Elaborate speeches imitated by later writers Interest in morality reflected through sensational deeds that illustrate the evils of unrestrained emotion and generalizations about human conditions Scenes of violence and horror were imitated by later writers Seneca’s preoccupation with magic and death, human and superhuman Creation of characters fueled by single obsessive passion which leads to their doom Used asides, soliloquies, and confidantes  T S E N E M E L CE A N R M F O R PE ROMAN ACTORS Histriones – actors; Cantores – declaimers Male actors; Women performed in mimes The playwright left the production at the hands of managers Some actors belonged in guilds In the 1st century BCE, emphasis shifted to the “star” performer The most popular performers in late Rome were tightrope walkers, trapeze artists, jugglers, sword- swallowers, fire-eaters, and dancers ACTING STYLE IN TRAGEDY AND COMEDY Delivery in tragedy is slow, stately and declamatory; Delivery in comedy was conversational Proficiency in speaking, singing and dancing Movement in tragedy was slow and dignified; movement in comedy was lively Gestures and movement were considered enlarged Actors specialized in one dramatic form Actors in mime did not use masks MASKS Masks were used for the doubling of roles Masks were made of linen and with attached wig Masks for pantomime had close mouths In a writing of Quintilian in the 1st century BCE, there were masks with one cheerful side and one serious side. Mime actors did not use masks COSTUMES Fabula palliata – everyday Athenian dresses were adapted Fabula togata – Roman garments; cloak or toga over Roman tunic Fabula crepidata – based on Greek tragedies Fabula praetexta – based on Roman garments The fabula praetexta took its name from the toga praetexta, a toga with purple border The pantomime performer wore long tunic and cloak which allowed freedom of movement Mime actors wore tunic as basic garment. Their distinctive accessory was the ricinium or hood. Fools in mimes wore the centunculus or patchwork jacket and had shaven heads TOGA PRAETEXTA RICINIUM MUSIC In the 1st century BCE, musical accompaniment determined the character who was about to enter Musicians were highly regarded Musicians used a two-piped flute, each pipe was 20 inches long and was bound on the head Pantomimes required more elaborate accompaniment – orchestra of flutes, pipes, cymbals, and other percussion instruments