Ancient Greek and Roman Theatre

Late Hellenistic-Early Roman Imperial Period red slip wares obtained from Cıngırt Kayası during the 2012-2014 seasons excavations constitute this study’s subject. As in many Hellenistic settlements, it is observed that the black slip pottery gradually gave way to red slip pottery in the Late Hellenistic Period at Cıngırt Kayası. The increasing dominance of the Kingdom of Pontos in the Black Sea Region in the 2nd century BC and the political and military activity under the rule of Mithradates VI, and the establishment of Roman domination in the following period led to the diversification of Cıngırt Kayası ceramic finds and made it possible to follow that historical process through the ceramics unearthed. The vast majority of red slip wares unearthed at Cıngırt Kayası are associated with this period. At Cıngırt Kayası, the vessels that make up the quality tableware were imported from different centers. Wares with simple slip; Rhodian and Knidian wares; Eastern Sigillata A, Eastern Sigillata C, Pergamon Sigillata, and Bosporan Sigillata wares and locally produced wares constitute the red slip tableware of Cıngırt Kayası. Parallel to the increase in Bosporus Sigillata in the Northern Black Sea Region with the Mithradates wars, it is quite remarkable that the density of Bosporus Sigillata at Cıngırt Kayası is also quite high. This is important in terms of constituting the archaeological evidence that the necessary logistics for the defense-oriented military settlement center such as Cıngırt Kayası of the Pontos Kingdom, which struggled with the Romans for Anatolian domination, was carried out through the Northern Black Sea Region. It is understood that this commercial relationship continued throughout the 1st century AD.

Οι επαφές της Ελλάδας με τις μικρασιατικές ακτές ξεκινούν από πολύ παλιά. Ήδη, οι Μυκηναίοι έμποροι ταξίδευαν από τη μία ακτή στην άλλη ανταλλάσσοντας αγαθά αλλά ταυτόχρονα και γνώσεις και πολιτισμό. Πολλούς αιώνες αργότερα, το πέρασμα από την περιοχή του Μεγάλου Αλεξάνδρου, αλλά στη συνέχεια και των διαδόχων του, βοήθησε στο να εισχωρήσει αυτός ο πολιτισμός στην ενδοχώρα της Ασίας. Στις πλαγιές των λόφων, τόσο στις οικείες ακτές, όσο και στο εσωτερικό αυτής της γης, διατηρούνται τα ερείπια αρχαίων θεάτρων. Το θέατρο δεν ήταν σημαντικό μόνο για την κλασική Ελλάδα, αλλά και για τον ελληνιστικό και ρωμαϊκό κόσμο, και συνδέθηκε αμέσως με όλες τις λειτουργίες της πόλης, κοινωνικές και πολιτικές. Ο Ρωμαίος αρχιτέκτονας Βιτρούβιος, αλλά και ο ιστορικός Στράβωνας, το σύγκριναν σε σημασία με την Αγορά (Forum), καθώς είναι από τα πρώτα οικοδομήματα που χτίζονται σε μια καινούρια πόλη στα ελληνιστικά και τα ρωμαϊκά χρόνια. Τα θέατρα, εκτός από τις θεατρικές παραστάσεις, φιλοξενούσαν και πολιτικές συγκεντρώσεις για πολλούς αιώνες.

H πανδημία ώθησε το θέατρο στα όριά του και επέβαλε την εύρεση δημιουργικών λύσεων. Το θέατρο κλήθηκε να μετασχηματιστεί σε βιντεοθέατρο (video theatre) και βιντεοδράμα (video drama) και να κατακλύσει ιστοτόπους ως ένα ακόμη «πα-ράθυρο», ανάμεσα σε ειδήσεις, διαφημίσεις και ποικίλο άλλο περιεχόμενο. Μια ακόμη λύση που αναδείχθηκε και επικοινωνεί με την κουλτούρα των παραγω-γών-καταναλωτών (prosumers) ήταν οι πρόβες σε ανοιχτούς χώρους. Το άρθρο εξετάζει τις δύο αυτές λύσεις που επινοήθηκαν στο πλαίσιο της πανδημίας και την ιδιαίτερη επίδρασή τους στο σώμα της θεατρικής παράστασης, καθώς και τις μα-κροπρόθεσμες συνέπειές τους. Επαναδιατυπώνει την οντολογία της θεατρικής παράστασης μετά την πανδημία, σε σχέση με την κινούμενη εικόνα, την αφήγηση και τη συμμετοχικότητα.

John Hookham Frere (1769–1846) was described as “one of
the most influential members of Malta’s nineteenth century
intellectual scene” and his sojourn in Malta between 1821 up
to his death in 1846 “was marked by encyclopaedic intellectual
activity”2 whose literary legacy is still with us today.

This book consists of two main, interrelated thematic units: the reception of Aeschylus' Dionysiac plays in Bacchae and the refiguration of the latter in the Byzantine drama Christus Patiens. In both sections the common denominator is Euripides' Bacchae, which is approached as a receiving text in the first unit and as a source text in the second. Each section addresses dramatic, ideological and cultural facets of the reception process, yielding insight into pivotal Dionysiac motifs that the ancient and Byzantine treatments share. Different pieces of evidence, mythographic, stylistic, and iconographic, are interrogated, so that light is shed on aspects of the storyline, the concepts, and the imagery of Aeschylus' two tetralogies. At the same time, Bacchae provides a valuable exemplum for aspects of dramatic technique, plot-patterns, and concepts refigured in Christus Patiens. This exploration thoroughly and systematically focuses on the ways in which the pagan play was transformed to bring forward new pillars of thought and innovative values in different cultural and ideological contexts over a wide time span from Greek Antiquity to Byzantium.

Neste artigo, a representação do outro como ameaça em Grande sertão: veredas, mais especificamente dos catrumanos, é explorada primeiramente confrontando leituras de críticos literários brasileiros importantes que escreveram a seu respeito. Depois, tenta-se estabelecer conexões entre os problemas equacionados nos trabalhos de Lukács, Jauss e, especialmente, no de Hermenegildo Bastos, todos relacionados à questão da ameaça natural.

Η παρούσα μελέτη έχει ως σκοπό, σε ένα πρώτο στάδιο, να καλύψει ένα κενό της διεπιστημονικής έρευνας στον τομέα της θεατρολογίας και πιο συγκεκριμένα, σε αυτόν της ιστορίας των εικαστικών τεχνών και της σκηνοθεσίας στο είδος της commedia dell’arte, καθώς και της επιρροής της από το αρχαίο ελληνικό και ρωμαϊκό θέατρο, καταθέτοντας συγκριτολογικά τεκμήρια αναφορικά με τα προσωπεία και, κυρίως, με τους τυποποιημένους θεατρικούς ρόλους που αγγίζουν τα χρονικά όρια του 18ου και του 20ού αιώνα. Η έρευνα σε ένα δεύτερο στάδιο, διευρύνοντας τον επιστημονικό ορίζοντα της θεατρολογίας και της ιστορίας, εστιάζει στην υποκριτική τέχνη. Η συγκεκριμένη ερευνητική σύνδεση ιστορίας, θεωρίας και υποκριτικής μεθοδολογίας πραγματοποιείται για πρώτη φορά στην Ελλάδα, όσον αφορά το είδος της commedia dell’arte καθώς μελετώνται σε συγκριτική και ιστορική βάση τα αρχαιοελληνικά και ρωμαϊκά προσωπεία, φέρνοντας στην επιφάνεια νέες επιστημονικές κλείδες ερμηνείας των θεατρολογικών και καλλιτεχνικών φαινομένων, καθώς επίσης και αντίστοιχες συνάφειες ανέγγιχτες μέχρι στις μέρες μας από την εγχώρια επιστήμη.

The discovery of Roman amphitheaters continues to excite the minds of archaeologists. Within the framework of various excavation campaigns, the architectural requalification of the amphitheater of Durres has been investigated, but no acoustic analyses have yet been carried out. This paper deals with the acoustic reconstruction of the Roman amphitheater of Durres in its original form. A campaign of acoustic measurements was carried out in accordance with ISO 3382 in order to understand the existing conditions, which are very detrimental to any type of live performance. After an accurate analysis of the geometric composition of the building, acoustic simulations were performed to determine the original acoustic response of the building. A comparison of the measured and simulated results, with and without an audience, was made in terms of the main acoustic parameters, while the acoustic map showing the spatial distribution of speech clarity at 1 kHz was added as an alternative way of r...

The architectural form of theatre in Rome has been linked to later, more well-known examples from the 1st century BC to the 3rd Century AD. The theatre of ancient Rome referred to as a period of time in which theatrical practice and performance took place in Rome has been linked back even further to the 4th century BC, following the state's transition from monarchy to republic. Theatre during this era is generally separated into genres of tragedy and comedy, which are represented by a particular style of architecture and stage play, and conveyed to an audience purely as a form of entertainment and control. When it came to the audience, Romans favored entertainment and performance over tragedy and drama, displaying a more modern form of theatre that is still used in contemporary times. 'Spectacle' became an essential part of an everyday Romans expectations when it came to theatre. Some works by Plautus, Terence, and Seneca the Younger that survive to this day, highlight the different aspects of Roman society and culture at the time, including advancements in Roman literature and theatre. Theatre during this period of time would come to represent an important aspect of Roman society during the republican and imperial periods of Rome.

O ensaio original "Non-Still Life: a Mosaic Portrait of Dimitris Papaioannou" oferece uma vista panorâmica da obra do pintor e coreógrafo grego Dimitris Papaoannou, desde sua iniciação artística até a turnê internacional de Still Life e foi escrito com base na apreciação e análise dos registros disponibilizados pela imprensa, pelo artista ou desenvolvidos pela própria autora. A apresentação que o precede, "O Mosaico-Dimitris de Aikaterini Delikonstantinidou" vem dar apoio à tradução, pontuando aspectos relevantes acerca do seu processo e organização em seis itens. Nas "Noções Preliminares", desenvolvem-se as figuras de linguagem presentes no título, que reiteram os objetivos da autora. Na "Introdução" são delineadas as conexões entre arte e vida que são aprofundadas no tópico seguinte, "O Corpo no Centro da Narrativa". Em "Trabalhos de larga escala em eventos esportivos", expectativas e contradições do artista são discutida...

Makalenin çalışma konusunu oluşturan seramiklerin ele geçtiği Elaiussa Sebaste antik kenti, günümüz Mersin ilinde yer alan Antik Çağ’da Akdeniz ticaretinin önemli rotalarından biri olan Dağlık Kilikia Bölgesi’nin en önemli liman kentlerinden biridir. Roma Döneminde “metropol” unvanı alan kent, Erken Bizans döneminde, üretim ve ihracat açısından en hareketli dönemini yaşamıştır . MS 2. yüzyıl sonrasında kamusal yapıların inşası ile kent kimliği kazanmaya başlayan Elaiussa, Kilikia Bölgesinin ticaret
hayatındaki avantajları ve ilişkilerini de değerlendirmiş görünmektedir. Pek çok farklı bölge ve kentin üretimlerini ithal eden kent, kendi ürünlerini de bu ağın içerisine dahil edebilmiştir. Makalenin konusunu oluşturan Afrika Kırmızı Astarlı Seramikleri de bu ithal gruplar içerisinde yer alan ve kentin ticari ilişkileri, dolayısıyla Kilikia Bölgesi ile Afrika arasındaki bağlantıyı
somut verilerle sunması açısından önem arz etmektedir.
The ancient city of Elaiussa Sebaste is one of the most important port cities of the Rough Cilicia Region, which was one of the important routes of Mediterranean trade in ancient times, located in today's Mersin province. The city, which received the title of "metropolis" in the Roman Period, experienced its most active period in terms of production and exports in the Early Byzantine period. The city, which imported the products of many different regions and cities, was able to include its own products in this trade system. The African Red Slip Ceramics, which are the subject of the article, are among these imported groups and the commercial relations of the city, thus the connection between the Cilicia Region and Africa. The paper is important in terms of presenting concrete data.