- Vayos.liapis@ouc.ac.cy
Vayos Liapis
Open University of Cyprus, Theatre Studies, Faculty Member
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Reception of Greek tragedy, Sententiae Menandri, Greek tragedy (classical and postclassical), Gnomology and wisdom literature, especially the Sententiae Menandrri, Archaic poetry and poetics, Hellenistic poetry, and 38 morePs-Euripides' Rhesus, Greek Religion, Greek Literature, Greek Lyric Poetry, Archaic Poetry, Hellenistic Literature, Homer, Greek Tragedy, Classical Reception Studies, Reception Studies, Knowledge, Euripides, Sophocles, Aeschylus, Macedon, Euripidean Corpus, Fourth century Tragedy, Pseudo Euripides, Rhesus, Early Greek Myth, Ethics, New Economic Criticism, Ancient Greek Religion, Aristophanes, Theatre Studies, Ancient Greek and Roman Theatre, Classics, Greek Comedy, Ancient Greek Language, Ancient Greek Drama, Greek Myth, Herodotus, Cognitive Poetics, Social Network Analysis (SNA), Shamanism, Altered States of Consciousness, Anthropology of Shamanism, and Archaeology of shamanism edit
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Classicist (BA Athens 1994, PhD Glasgow 1997), specializing in Greek literature. Professor of Ancient Theatre and It... moreClassicist (BA Athens 1994, PhD Glasgow 1997), specializing in Greek literature.
Professor of Ancient Theatre and Its Reception at the Open University of Cyprus.
Formerly: faculty at the Universities of Cyprus, Montreal, Patras; visiting professor at the École Normale Supérieure; Member of the Institute of Advanced Study. edit
Σε μια εποχή όξυνσης του ανορθολογισμού και του θρησκευτικού φανατισμού, επανέρχεται στο προσκήνιο ο προβληματισμός για το φαινόμενο της θρησκοληψίας και της δεισιδαιμονίας. Το φαινόμενο αυτό αντιμετωπίζουν, από διαφορετικό πρίσμα ο... more
Σε μια εποχή όξυνσης του ανορθολογισμού και του θρησκευτικού φανατισμού, επανέρχεται στο προσκήνιο ο προβληματισμός για το φαινόμενο της θρησκοληψίας και της δεισιδαιμονίας. Το φαινόμενο αυτό αντιμετωπίζουν, από διαφορετικό πρίσμα ο καθένας, οι συγγραφείς των τριών κειμένων που μεταφράζονται και υπομνηματίζονται στον τόμο αυτόν: ο Λουκιανός στο «Φιλοψευδεῖς ἢ Ἀπιστῶν», ο Πλούταρχος στο «Περὶ δεισιδαιμονίας» και ο Θεόφραστος στον «Δεισιδαίμονα».
Με όπλο άλλοτε τη σάτιρα και την καρικατούρα και άλλοτε τον εμβριθή στοχασμό, οι τρεις αυτοί συγγραφείς καταπιάνονται με ένα φαινόμενο που δεν δείχνει σημάδια υποχώρησης. Αν και προέρχονται από μιαν άλλη εποχή, τα κείμενα του τόμου αυτού μπορούν να μας φανερώσουν μιαν όψη της δικής μας ταυτότητας που συνήθως δεν θέλουμε να αντικρίζουμε.
Με όπλο άλλοτε τη σάτιρα και την καρικατούρα και άλλοτε τον εμβριθή στοχασμό, οι τρεις αυτοί συγγραφείς καταπιάνονται με ένα φαινόμενο που δεν δείχνει σημάδια υποχώρησης. Αν και προέρχονται από μιαν άλλη εποχή, τα κείμενα του τόμου αυτού μπορούν να μας φανερώσουν μιαν όψη της δικής μας ταυτότητας που συνήθως δεν θέλουμε να αντικρίζουμε.
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Το σχολικό βιβλίο Θεατρολογίας για τη Β' Λυκείου.
Συγγραφέας: Βάιος Λιαπής
Επιμέλεια: Θεόδωρος Μιχαηλίδης, Άντια Κατσούρη
© Υπουργείο Παιδείας, Αθλητισμού και Νεολαίας, Παιδαγωγικό Ινστιτούτο Κύπρου — Υπηρεσία Ανάπτυξης Προγραμμάτων.
Συγγραφέας: Βάιος Λιαπής
Επιμέλεια: Θεόδωρος Μιχαηλίδης, Άντια Κατσούρη
© Υπουργείο Παιδείας, Αθλητισμού και Νεολαίας, Παιδαγωγικό Ινστιτούτο Κύπρου — Υπηρεσία Ανάπτυξης Προγραμμάτων.
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Λουκιανός: Το τέλος του Περεγρίνου & Ευσέβιος Καισαρείας: Απάντηση στον Σωσιανό Ιεροκλή Στους πρώτους μεταχριστιανικούς αιώνες, στις ανατολικές περιοχές της Ρωμαϊκής Αυτοκρατορίας, εμφανίστηκαν και διακρίθηκαν άνδρες οπλισμένοι με... more
Λουκιανός: Το τέλος του Περεγρίνου & Ευσέβιος Καισαρείας: Απάντηση στον Σωσιανό Ιεροκλή
Στους πρώτους μεταχριστιανικούς αιώνες, στις ανατολικές περιοχές της Ρωμαϊκής Αυτοκρατορίας, εμφανίστηκαν και διακρίθηκαν άνδρες οπλισμένοι με φιλοσοφική παιδεία αλλά και προικισμένοι με υπερανθρώπινα χαρίσματα και με δυνάμεις προφητικές ή θαυματουργές. Τα κείμενα που έχουν επιλεγεί στον τόμο αυτόν περιγράφουν και σχολιάζουν τους θείους άνδρες από δύο αντίθετα άκρα του θρησκευτικού φάσματος: το πρώτο είναι γραμμένο από εθνικό συγγραφέα με έντονα αντιχριστιανικές απόψεις, ενώ το δεύτερο από χριστιανό απολογητή που θριαμβολογεί για την πρόσφατη κατίσχυση της νέας θρησκείας.
Στους πρώτους μεταχριστιανικούς αιώνες, στις ανατολικές περιοχές της Ρωμαϊκής Αυτοκρατορίας, εμφανίστηκαν και διακρίθηκαν άνδρες οπλισμένοι με φιλοσοφική παιδεία αλλά και προικισμένοι με υπερανθρώπινα χαρίσματα και με δυνάμεις προφητικές ή θαυματουργές. Τα κείμενα που έχουν επιλεγεί στον τόμο αυτόν περιγράφουν και σχολιάζουν τους θείους άνδρες από δύο αντίθετα άκρα του θρησκευτικού φάσματος: το πρώτο είναι γραμμένο από εθνικό συγγραφέα με έντονα αντιχριστιανικές απόψεις, ενώ το δεύτερο από χριστιανό απολογητή που θριαμβολογεί για την πρόσφατη κατίσχυση της νέας θρησκείας.
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Adaptations of Greek tragedy are increasingly claiming our attention as a dynamic way of engaging with a dramatic genre that flourished in Greece some twenty-five centuries ago but remains as vital as ever. In this volume, fifteen leading... more
Adaptations of Greek tragedy are increasingly claiming our attention as a dynamic way of engaging with a dramatic genre that flourished in Greece some twenty-five centuries ago but remains as vital as ever. In this volume, fifteen leading scholars and practitioners of the theatre systematically discuss contemporary adaptations of Greek tragedy and explore the challenges and rewards involved therein. Adopting a variety of methodologies, viewpoints and approaches, the volume offers surveys of recent developments in the field, engages with challenging theoretical issues, and shows how adapting Greek tragedy can throw new light on a range of contemporary issues-from our relation to the classical past and our shifting perceptions of ethnic and cultural identities to the place, function and market-value of Greek drama in today's cultural industries. The volume will be welcomed by students and scholars in Classics, Theatre, Drama and Performance Studies, as well as by theatre practitioners.
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La serie di volumi Frammenti sulla Scena. Studi sul dramma antico frammentario è l'organo scientifico ufficiale del Centro Studi sul Teatro Classico dell'Università degli Studi di Torino; accoglie contributi di studiosi internazionali... more
La serie di volumi Frammenti sulla Scena. Studi sul dramma antico frammentario è l'organo scientifico ufficiale del Centro Studi sul Teatro Classico dell'Università degli Studi di Torino; accoglie contributi di studiosi internazionali dedicati all'indagine degli aspetti letterari, linguistici, antropologici, archeologici e papirologici del dramma greco-latino frammentario e delle tradizioni teatrali minori del Mediterraneo.
Lo scopo di questa serie è pervenire, mediante l'apporto di tutte le discipline afferenti alle scienze dell'antichità, a delineare una nuova visione di insieme del patrimonio letterario rappresentato dai testi teatrali pervenuti in forma frammentaria o noti per tradizione indiretta.
La serie di volumi è pubblicata sotto la direzione del professor Francesco Carpanelli e la curatela del dott. Luca Austa per i tipi dell'Editore dell'Orso di Alessandria.
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The series Frammenti sulla Scena. Studies in ancient fragmentary drama is the official scientific series of The Centro Studi sul Teatro Classico (University of Turin); it receives contributions on all aspects of the Greek-Latin fragmentary theatre.
The aim of this series is to arrive, through the contribution of all the disciplines pertaining to the sciences of antiquity (Literature, linguistics, archeology, history, anthropology, papyrology), to outline a new overview of the literary heritage represented by the ancient fragmentary (or known by indirect tradition) drama.
The series is directed by Professor Francesco Carpanelli (University of Turin), edited by Dr. Luca Austa and published by Editore dell'Orso of Alessandria (IT).
International Advisory Board
Emily Allen-Hornblower, Angela Andrisano, Tommaso Braccini, Lowell Edmunds, Giulio Guidorizzi, Enrico V. Maltese, Silvia Milanezi, Xavier Riu, Silvia Romani, Robert W. Wallace.
Per maggiori informazioni / More information: http://www.teatroclassico.unito.it/it/content/serie-%C2%ABframmenti-sulla-scena%C2%BB-studi-sul-dramma-antico-frammentario
Lo scopo di questa serie è pervenire, mediante l'apporto di tutte le discipline afferenti alle scienze dell'antichità, a delineare una nuova visione di insieme del patrimonio letterario rappresentato dai testi teatrali pervenuti in forma frammentaria o noti per tradizione indiretta.
La serie di volumi è pubblicata sotto la direzione del professor Francesco Carpanelli e la curatela del dott. Luca Austa per i tipi dell'Editore dell'Orso di Alessandria.
***
The series Frammenti sulla Scena. Studies in ancient fragmentary drama is the official scientific series of The Centro Studi sul Teatro Classico (University of Turin); it receives contributions on all aspects of the Greek-Latin fragmentary theatre.
The aim of this series is to arrive, through the contribution of all the disciplines pertaining to the sciences of antiquity (Literature, linguistics, archeology, history, anthropology, papyrology), to outline a new overview of the literary heritage represented by the ancient fragmentary (or known by indirect tradition) drama.
The series is directed by Professor Francesco Carpanelli (University of Turin), edited by Dr. Luca Austa and published by Editore dell'Orso of Alessandria (IT).
International Advisory Board
Emily Allen-Hornblower, Angela Andrisano, Tommaso Braccini, Lowell Edmunds, Giulio Guidorizzi, Enrico V. Maltese, Silvia Milanezi, Xavier Riu, Silvia Romani, Robert W. Wallace.
Per maggiori informazioni / More information: http://www.teatroclassico.unito.it/it/content/serie-%C2%ABframmenti-sulla-scena%C2%BB-studi-sul-dramma-antico-frammentario
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The volume will offer an Introduction, a new Greek text and apparatus criticus, a facing translation, and a full-scale commentary combining thorough linguistic guidance with sophisticated attention to literary and dramatic interpretation.
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Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC. Currently,... more
Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC.
Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap.
Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap.
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In recent years, classicists have begun aggressively to explore the impact of performance on the ways in which Greek and Roman plays are constructed and appreciated, both in their original performance context and in reperformances down to... more
In recent years, classicists have begun aggressively to explore the impact of performance on the ways in which Greek and Roman plays are constructed and appreciated, both in their original performance context and in reperformances down to the present day. While never losing sight of the playscripts, it is necessary to adopt a more inclusive point of view, one integrating insights from archaeology, art, history, performance theory, theatre semiotics, theatrical praxis, and modern performance reception. This volume contributes to the restoration of a much-needed balance between performance and text: it is devoted to exploring how performance-related considerations (including stage business, masks, costumes, props, performance space, and stage-sets) help us attain an enhanced appreciation of ancient theatre.
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Reviewed by Jeanette Auer in Bryn Mawr Classical Review, http://bmcr.brynmawr.edu/2008/2008-07-41.html
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Reviewed by Giannis P. Stamatellos in Bryn Mawr Classical Review, http://bmcr.brynmawr.edu/2003/2003-12-29.html
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Reviewed in Bryn Mawr Classical Review by A. K. Petrides, http://bmcr.brynmawr.edu/2003/2003-04-11.html
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In epic and later literature, Helen is a consummate performer of tales and songs. This is an aspect that informs Helen’s defence speech in Euripides’ Trojan Women, in which she manipulates to her advantage a poetic tradition that was... more
In epic and later literature, Helen is a consummate performer of tales and songs. This is an aspect that informs Helen’s defence speech in Euripides’ Trojan Women, in which she manipulates to her advantage a poetic tradition that was largely hostile to her. It is thanks to her skilful appropriation of poet’s tales that Helen, the supreme performer, albeit starting from a disadvantageous position, manages to carry the day in the debate against her opponent Hecuba and her sophistically informed rationalistic argumentation.
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The Arion story in Herodotus (1.23-24) is often taken to be a digression only tangentially relevant to the main narrative. This paper argues that, on the contrary, the tale is of central importance for the Lydian logos. The Arion story is... more
The Arion story in Herodotus (1.23-24) is often taken to be a digression only tangentially relevant to the main narrative. This paper argues that, on the contrary, the tale is of central importance for the Lydian logos. The Arion story is informed by mythic and performance patterns associated with cultic aspects of Apollo, who is a dominant presence in the narrative's immediate context as well as in the Lydian logos in general. In particular, the dolphin is best explained as a manifestation of Apollo Delphinios ("Dolphin god"), a centrally important divinity in Miletus, the city whose siege provides the narrative context into which Herodotus embeds the Arion story. The context of the Arion story is important: its problematization of money (Arion's monetary gains endanger his life) is reflected in the story of Croesus, whose immense wealth and lavish gifts to Delphi cannot prevent his fall, as well as in other aspects of the Lydian logos. Contextualizing the Arion story also reveals its connections to the importance of maritime and political networks, to the significance of overseas migration as an agent of salvation and welfare for Greek poleis, and to the ideal of a cultic relationship to Apollo (the god of Delphi and of overseas migration and networks) which transcends monetary pursuits.
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Ancient Greek novelistic narratives often appropriate the language of tragedy and evoke the world of the theatre in general. This paper examines a case of intertextual dialogue between novel and tragedy which does not seem to have... more
Ancient Greek novelistic narratives often appropriate the language of tragedy and evoke the world of the theatre in general. This paper examines a case of intertextual dialogue between novel and tragedy which does not seem to have attracted sufficient scholarly attention. The passage in question is Longus’ Daphnis and Chloe 1,20-21, where the herdsman Dorcon, who lusts after Chloe, disguises himself as a wolf in order to frighten the girl and rape her. His stratagem, however, proves to be misconceived: Chloe’s dogs, taking Dorcon for a real wolf, attack and maul him. The scene evokes Rhesus 201-215, where Dolon, who has offered himself as a volunteer to spy into the Greek camp, explains that he intends to put on a wolf’s skin and crawl on all fours so that the enemies may take him for a wolf on the prowl. However, Dolon's stratagem fails horribly.
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... Cf. also S. OC 779 err* ovdev ij% dpi£ x&piv 4> epor, E. Hel. 1234 JKOpi£ y&P &VTI X< ipi~ o<; eASeraj; HF 327% apni npoaQeivou% apiv; Ale. 660-61 KaVTi Tiavde fioi%... more
... Cf. also S. OC 779 err* ovdev ij% dpi£ x&piv 4> epor, E. Hel. 1234 JKOpi£ y&P &VTI X< ipi~ o<; eASeraj; HF 327% apni npoaQeivou% apiv; Ale. 660-61 KaVTi Tiavde fioi% apiv Toiavde...rf)^ Xa^ aTf) v; A. Ag. 728-9 yftpi v yap tpojt&jmv Ofielfiwv, PI. Men. ...
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The aim of this paper is to throw new light on Iakovos Kambanellis' trilogy The Supper (Ό Δeίπνος) by analyzing its intertextual relations to ancient Greek tragedies about the Atreid myth, by exploring its metatheatrical aspects, and... more
The aim of this paper is to throw new light on Iakovos Kambanellis' trilogy The Supper (Ό Δeίπνος) by analyzing its intertextual relations to ancient Greek tragedies about the Atreid myth, by exploring its metatheatrical aspects, and by discussing its construction of theatrical space as a heterotopia. Kambanellis' trilogy is shot through with metatheatrical devices (role-play, make-believe action, references to dramatic convention) and with sustained references (explicit, oblique or cleverly distorted) to ancient Greek tragic versions of the Atreid myth. The trilogy's elaborate and sophisticated fusion of lived reality and dramatic fiction is enhanced by its construction of space as a heterotopia, a locus that is at once physically real and phantasmatic.
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A BST R ACT: Taking its cue from two recent articles on Euripides’ Oedipus (Liapis 2014, Finglass 2017), this paper addresses neglected evidence on fragments attributed to that play and reconsiders the question of their authenticity. A... more
A BST R ACT: Taking its cue from two recent articles on Euripides’ Oedipus (Liapis 2014, Finglass 2017), this paper addresses neglected evidence on fragments attributed to that play and reconsiders the question of their authenticity. A distinct dichotomy emerges between, on the one hand, fragments transmitted in authors relying on f lorilegia and, on the other, fragments ultimately deriving from non-f lorilegic sources. While the latter are above suspicion, there is reason to doubt the authenticity of the former. The paper also argues that there was no cross-pollination between the transmission of the authentic and the spurious Oedipus in antiquity, and that the latter’s readership was limited to milieus with links to rhetoric and education. Finally, the paper offers some general remarks which should be of consequence not only for the fragments of Euripides’ Oedipus, but also for the study of fragmentary Greek tragedies in general.
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This chapter asks to what extent were the dead imagined to retain their corporeality by the ancient Greeks? The overview begins with Homer, with particular attention given to the Nekyia, and an excursus on the nature of psyche. The next... more
This chapter asks to what extent were the dead imagined to retain their corporeality by the ancient Greeks? The overview begins with Homer, with particular attention given to the Nekyia, and an excursus on the nature of psyche. The next section on ‘embodied ghosts’ brings together hero-revenants along with the ‘ordinary dead’. Liapis argues that the Homeric account of the dead as disembodied eidola is far from the norm, and clarifies seemingly inconsistencies within Homer’s own representation of the dead concerning this matter. Liapis then considers a range of sources to argue that the Greek imaginings of the dead oscillated between the spectral and corporeal, a situation which poses challenges for contemporary thinking concerning the corporeality of human beings.
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The claim of a hypothesis to Euripides’ Rhesus that Dicaearchus knew of two prologues to the play can help clarify the context, scope, and authenticity of his introductions to classical tragedies.
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The paper offers an examination of Pindar's Olympian 10 from the point of view of New Economic Criticism. The economics of Olympian 10 revolve around a dynamic interrelationship between poet and patron, as well as between commoditization... more
The paper offers an examination of Pindar's Olympian 10 from the point of view of New Economic Criticism. The economics of Olympian 10 revolve around a dynamic interrelationship between poet and patron, as well as between commoditization and its negation. In this interrelationship, the opposition between distinct transactors is perpetuated, while at the same time it is dissolved into a mutual amalgamation, with the transactors’ roles remaining in a state of continual flux and dynamic ambiguity.
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"Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC.... more
"Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC. Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap."
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Thank you very much for reading a commentary on the rhesus attributed to euripides. As you may know, people have search numerous times for their favorite readings like this a commentary on the rhesus attributed to euripides, but end up in... more
Thank you very much for reading a commentary on the rhesus attributed to euripides. As you may know, people have search numerous times for their favorite readings like this a commentary on the rhesus attributed to euripides, but end up in malicious downloads. Rather than enjoying a good book with a cup of tea in the afternoon, instead they are facing with some infectious virus inside their desktop computer.
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This paper offers a close reading of ‘Orestes’, the earliest (1962–1966) of the monologues eventually included in Yiannis Ritsos’ Fourth Dimension. Its principal aim is to explore Ritsos’ extensive reworking of the myth of the Atreids,... more
This paper offers a close reading of ‘Orestes’, the earliest (1962–1966) of the monologues eventually included in Yiannis Ritsos’ Fourth Dimension. Its principal aim is to explore Ritsos’ extensive reworking of the myth of the Atreids, especially as retold by the three great tragedians, in the light of existentialist philosophy and drama
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Greek Tragedy, Audience and Reception Studies, Modern Greek literature, The Classical Tradition, Classical Reception Studies, and 9 moreReception of Greek tragedy, Existentialism, Ancient Greek Tragedy, The poetry of Ritsos, Ancient Greek Tragedy and its Reception, Existentialism and Literature, Classical Tradition, Language Culture and Communication, and Yannis Ritsos
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In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to... more
In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to illuminate - partly expanding on a brief but suggestive study by Hans Diller ("Gottliches und menschliches Wissen bei Sophocles", Kiel 1950) - the ways in which the epistemological chasm between Man and God in Sophoclean tragedy becomes manifest through a 'collision' between the incompleteness and limitedness of human knowledge on the one hand and the transcendence and the unknowability of the gods on the other. An introductory chapter is prefixed which deals with the development of the idea of divine unknowability in archaic Greek literature and in Presocratic philosophy. There follows a detailed examination of the extant plays one by one (with special emphasis on the close reading of practically all the choral odes), by means of wh...
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A slightly earlier version of the paper published in G. A. Gazis and A. Hooper (eds.), Aspects of Death and the Afterlife in Greek Literature (Liverpool: Liverpool University Press 2021), 33–47
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Page 1. HOW TO MAKE A MONOSTICHOS: STRATEGIES OF VARIATION IN THE SENTENTIAE MENANDRI* VAYOS LIAPIS INTRODUCTION ... Page 2. Vayos Liapis The implication of such a view is that one can reconstruct the Sententiae ...
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Acceso de usuarios registrados. Acceso de usuarios registrados Usuario Contraseña. ...
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... Cf. also S. OC 779 err* ovdev ij% dpi£ x&piv 4> epor, E. Hel. 1234 JKOpi£ y&P &VTI X< ipi~ o<; eASeraj; HF 327% apni npoaQeivou% apiv; Ale. 660-61 KaVTi Tiavde fioi%... more
... Cf. also S. OC 779 err* ovdev ij% dpi£ x&piv 4> epor, E. Hel. 1234 JKOpi£ y&P &VTI X< ipi~ o<; eASeraj; HF 327% apni npoaQeivou% apiv; Ale. 660-61 KaVTi Tiavde fioi% apiv Toiavde...rf)^ Xa^ aTf) v; A. Ag. 728-9 yftpi v yap tpojt&jmv Ofielfiwv, PI. Men. ...
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[Sigma][Upsilon][Nu][Omicron][Delta][Iota][Nu][Omicron][Upsilon] ([Kappa].) (ed., trans.) [Epsilon][upsilon][rho][iota][pi][iota][delta][eta][final small sigma] ‘[Epsilon][kappa][alpha][beta][eta]. In two volumes. Pp. 723. Athens: [Delta][alpha][iota][delta][alpha][lambda][omicron][final small si...more
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In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to... more
In the present thesis the author professes to offer neither a systematic account of Sophoclean theology (if indeed there is such a thing) nor a study of the epistemological problem per se in Sophoclean tragedy. His purpose is rather to illuminate - partly expanding on a brief but ...
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Epicharmus, Asclepiades of Tragilus, AND THE RHESUS: ... Epicharmus fr. 206 K.-A. (Hesychius p 272 [III 428 Schmidt] = Photius 486, 18 Porson = Suda p 143 [IV 291, 28 Adler]):i ... The corrupt variants ?p?ei, p??i, and aip?o?i ... 1425 x?... more
Epicharmus, Asclepiades of Tragilus, AND THE RHESUS: ... Epicharmus fr. 206 K.-A. (Hesychius p 272 [III 428 Schmidt] = Photius 486, 18 Porson = Suda p 143 [IV 291, 28 Adler]):i ... The corrupt variants ?p?ei, p??i, and aip?o?i ... 1425 x? xoG8' [sc. Oedipus'] . . . jiavxfi'uiaaO', o? ...
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A seminar delivered at the École Normale Supérieure (Paris), under the aegis of Labex TransferS, on 9 April 2015.
Please see link for a video recording: http://savoirs.ens.fr/expose.php?id=2069
Please see link for a video recording: http://savoirs.ens.fr/expose.php?id=2069
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PowerPoint presentation used at the first of four seminars delivered at the École Normale Supérieure (Labex TransferS) on 20 March 2015. Topics: General Introduction; Diogenes of Athens; Dicaeogenes; Antiphon; Patrocles.
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PowerPoint presentation used at the second of four seminars delivered at the Ecole Normale Supérieure (Labex TransferS) on 27 March 2015. Topics: Astydamas; Carcinus.
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PowerPoint presentation used at the third of four seminars delivered at the Ecole Normale Supérieure (Labex TransferS) on 3 April 2015. Topics: Charemon; Theodectas; Dionysius I of Syracuse; Diogenes the Cynic.
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PowerPoint presentation used at the last of four seminars delivered at the Ecole Normale Supérieure (Labex TransferS) on 9 April 2015. Topics: the "Rhesus" attributed to Euripides.
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"""Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC. Currently,... more
"""Despite some important recent studies in the field, there is still much to be said on postclassical Greek tragedy, i.e. Greek tragedy as it developed and expanded into a medium of worldwide prestige after the 5th century BC. Currently, there is no such thing as a single volume providing a thorough and scholarly, yet accessible survey of Greek tragedy from the fourth century onwards. As a result, students and scholars interested in the evolution of Greek tragedy after the age of the three tragedians have nowhere to turn for a comprehensive study discussing and analyzing the most important aspects of this complex, variegated and often elusive phenomenon. The proposed volume aims at filling, to a large extent, this significant bibliographic gap."
Chapter 1: After the Fifth Century: (Dis)continuities in Greek tragedy
Chapter 2: Theatre Performance after the Fifth Century
Chapter 3: Beyond Athens: The Dissemination of Greek Tragedy from the Fourth Century Onwards
Chapter 4: Music and Dance in the Greek Tragic Theatre after the Fifth Century
Chapter 5: Fourth-century Tragedy: The Fragments
Chapter 6: Rhesus
Chapter 7: Hellenistic Tragedy and Satyr Drama
Chapter 8: Biblical Tragedy: The Exagoge of Ezekiel
Chapter 9: Society, Ethics, and Intellectual Trends in Greek Tragedy after the Fifth Century
Chapter 10: Attitudes towards Tragedy from the Second Sophistic to Late Antiquity
Chapter 11: Scholars and Scholarship on Tragedy""
Chapter 1: After the Fifth Century: (Dis)continuities in Greek tragedy
Chapter 2: Theatre Performance after the Fifth Century
Chapter 3: Beyond Athens: The Dissemination of Greek Tragedy from the Fourth Century Onwards
Chapter 4: Music and Dance in the Greek Tragic Theatre after the Fifth Century
Chapter 5: Fourth-century Tragedy: The Fragments
Chapter 6: Rhesus
Chapter 7: Hellenistic Tragedy and Satyr Drama
Chapter 8: Biblical Tragedy: The Exagoge of Ezekiel
Chapter 9: Society, Ethics, and Intellectual Trends in Greek Tragedy after the Fifth Century
Chapter 10: Attitudes towards Tragedy from the Second Sophistic to Late Antiquity
Chapter 11: Scholars and Scholarship on Tragedy""
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Greek Literature, Greek Tragedy, Second Sophistic, Ancient Greek and Roman Theatre, Postclassical Tragedy, and 11 moreLycophron, Rhesus, Ezechiel the Tragedian, Macedon, Ancient Greek Scholarship, Music and Dance In the Greek Tragic Theatre, Theatre Performance, Greek Literature In Fragments, Fourth century Tragedy, Euripidean Corpus, and Pseudo Euripides
The book comprises essays by an international panel of scholars: Lorna Hardwick, Gonda van Steen, Vrasidas Karalis, Michael Paschalis, Ioannis Konstantakos, Vayos Liapis, Anastasia Bakogianni, Maria Dimaki-Zora, Demetra Demetriou, and... more
The book comprises essays by an international panel of scholars: Lorna Hardwick, Gonda van Steen, Vrasidas Karalis, Michael Paschalis, Ioannis Konstantakos, Vayos Liapis, Anastasia Bakogianni, Maria Dimaki-Zora, Demetra Demetriou, and Antonis Petrides. Originating as papers delivered at the International Conference on the Reception of Greek Tragic Myth in Modern Greek Poetry and Theatre of the 20th and 21st Centuries held in Cyprus in December 2014, the essays examine a good balance of topics and approaches to some of the most important Greek writers that tackle themes, motifs and characters from ancient tragedy. The chronological spectrum of the essays ranges from texts written before the institution of the Modern Greek state to others written in the last decade and even plays that have been performed but not yet circulated in book form. The book is intended primarily for academic specialists, practitioners, and professionals working in the fields of Modern Greek Studies, Greek tragedy, and Reception Studies. We believe, however, that it will also have a broader appeal and will be accessible to undergraduate students, as well as to a wider audience.
Research Interests:
Classics, Greek Tragedy, Reception Studies, Modern Greek literature, Classical Reception Studies, and 10 moreReception of Antiquity, Reception of Greek tragedy, Modern Greek Studies, Modern Greek and Comparative Literature, The poetry of Ritsos, Nikos Kazantzakis, Ancient Greek Tragedy and its Reception, Seferis' Poetry, Kyriakos Charalambides, and Iakovos Kambanellis
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Greek and Latin school texts and teaching procedures, with special emphasis on ancient rhetoric and declamation, Ancient Greek Teaching Methods, Teaching of Ancient Greek, TEACHING ANCIENT GREEK TRAGEDY, Teaching and learning Greek, and 2 moreteaching ancient and modern Greek and Latin and Greek teaching
Conférence vidéo dans le cadre de la journée d'études « Europe et langues anciennes : nouvelles questions, nouvelles pratiques. Première journée européenne des Langues et Cultures de l’Antiquité ». Journée d'études organisée par la... more
Conférence vidéo dans le cadre de la journée d'études « Europe et langues anciennes : nouvelles questions, nouvelles pratiques. Première journée européenne des Langues et Cultures de l’Antiquité ».
Journée d'études organisée par la Direction Générale de l’Enseignement Scolaire du Ministère de l'Éducation Nationale, de la Jeunesse et des Sports, en collaboration avec l’Inspection Générale de l’Éducation, du Sport et de la Recherche et avec l'École Normale Supérieure-Paris (Sciences et Lettres) le 16 novembre 2021.
Journée d'études organisée par la Direction Générale de l’Enseignement Scolaire du Ministère de l'Éducation Nationale, de la Jeunesse et des Sports, en collaboration avec l’Inspection Générale de l’Éducation, du Sport et de la Recherche et avec l'École Normale Supérieure-Paris (Sciences et Lettres) le 16 novembre 2021.
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Μια όψη της γλώσσας και του ύφους των Επτά επί Θήβας που δεν έχει προσεχτεί αρκετά είναι η εκτεταμένη χρήση οικονομικών μεταφορών και εικόνων. Ο πρωταγωνιστής του έργου Ετεοκλής επανειλημμένα αναφέρεται στην επικείμενη αντιπαράθεση των... more
Μια όψη της γλώσσας και του ύφους των Επτά επί Θήβας που δεν έχει προσεχτεί αρκετά είναι η εκτεταμένη χρήση οικονομικών μεταφορών και εικόνων. Ο πρωταγωνιστής του έργου Ετεοκλής επανειλημμένα αναφέρεται στην επικείμενη αντιπαράθεση των Θηβαίων με τους Επτά, και του ίδιου με τον Πολυνείκη, με όρους κέρδους (437, 684, 697), παραπέμποντας μάλιστα, σε μία περίπτωση, στο έντοκο κέρδος (437 καὶ τῶιδε κέρδει κέρδος ἄλλο τίκτεται). Αλλά και των επιτιθεμένων οι προθέσεις περιγράφονται με οικονομικούς όρους: ο Παρθενοπαίος, μας πληροφορεί ο Αγγελιαφόρος, έχει έρθει στη Θήβα με σκοπό «όχι να κάνει μικρεμπόριο στη μάχη» (545 οὐ καπηλεύσειν μάχην), αλλά με φιλοδοξίες μεγαλεμπόρου του πολέμου. Εξάλλου, οι ασπίδες των Επτά, που περιγράφονται λεπτομερώς στο κεντρικό τμήμα του έργου, έχουν εύστοχα παραλληλιστεί (από την Debora Steiner στο βιβλίο της The Tyrant’s Writ, Princeton 1994, 56-7) με νομίσματα: οι ασπίδες, όπως και τα νομίσματα, είναι κυκλοτερή τεμάχια μετάλλου που φέρουν ἐπισήματα (επιγραφές ή/και εικόνες), τα οποία λειτουργούν ως σύμβολα αξίας (οικονομικής ή πολεμικής). Ως σύμβολα όμως υπόκεινται σε πολλαπλές ερμηνείες (όπως καλά γνωρίζει ο Ετεοκλής, που επανειλημμένα επιχειρεί να επανερμηνεύσει τον συμβολισμό των ἐπισημάτων), αλλά και τείνουν να υποκαταστήσουν το πραγματικό με το σημειολογικό, εξ ου και ο Αμφιάραος, ο ευσεβέστερος από τους Επτά, επιλέγει μιαν ασπίδα χωρίς ἐπίσημα, επειδή δεν θέλει να φαίνεται άριστος αλλά να είναι (οὐ . . . δοκεῖν ἄριστος ἀλλ’ εἶναι θέλει).
Οι οικονομικές μεταφορές των Επτά ενεργοποιούνται ακόμη και σε περιπτώσεις στις οποίες το κείμενο μοιάζει, φαινομενικά, να καταφεύγει σε συμβατικές και τετριμμένες εικόνες. Μια τέτοια περίπτωση είναι η πολυχρησιμοποιημένη εικόνα της πόλεως ως πλοίου, και του ηγέτη της ως κυβερνήτη, με την οποία ξεκινά η προλογική ρήση του Ετεοκλή (1-3, πβ. 62 σὺ δ’ ὥστε ναὸς κεδνὸς οἰακοστρόφος). Στη συνέχεια του έργου, ωστόσο, η εικόνα αυτή εξελίσσεται στην πολύ δραστικότερη, και ανησυχητική, εικόνα του εμπορικού πλοίου που κινδυνεύει να βυθιστεί από το βάρος του υπερβολικά πλούσιου φορτίου του (766-71, πβ. 771 ὄλβος ἄγαν παχυνθείς). Στο πλαίσιο της ίδιας εικόνας, ο κυβερνήτης (Ετεοκλής) συνειδητοποιεί ότι η αρχαία κατάρα του Οιδίποδα (766 παλαιφάτων ἀρᾶν) συνεπάγεται βαρύ κόστος: η φράση βαρεῖαι καταλλαγαί του αρχαίου κειμένου περιέχει μια λέξη (καταλλαγή), η οποία δηλώνει, μεταξύ άλλων, την προμήθεια που εισπράττει ο αργυραμοιβός, κάτι που μας επαναφέρει στο σύμπαν των οικονομικών δοσοληψιών. Άλλωστε, η ιδέα του (έντοκου) κέρδους, της κερδοσκοπίας και της χρηματικής απληστίας κυριαρχεί και στον οιδιπόδειο μύθο γενικά: ο Οιδίπους, ως αρχετυπική ενσάρκωση του τυράννου, συνδέεται συχνά (κυρίως στον Οιδίποδα Τύραννο) με το έντοκο κέρδος και με τον γρήγορο πλουτισμό, αλλά και την εξίσου ταχεία καταστροφή, που αυτό συνεπάγεται.
Οι οικονομικές μεταφορές των Επτά ενεργοποιούνται ακόμη και σε περιπτώσεις στις οποίες το κείμενο μοιάζει, φαινομενικά, να καταφεύγει σε συμβατικές και τετριμμένες εικόνες. Μια τέτοια περίπτωση είναι η πολυχρησιμοποιημένη εικόνα της πόλεως ως πλοίου, και του ηγέτη της ως κυβερνήτη, με την οποία ξεκινά η προλογική ρήση του Ετεοκλή (1-3, πβ. 62 σὺ δ’ ὥστε ναὸς κεδνὸς οἰακοστρόφος). Στη συνέχεια του έργου, ωστόσο, η εικόνα αυτή εξελίσσεται στην πολύ δραστικότερη, και ανησυχητική, εικόνα του εμπορικού πλοίου που κινδυνεύει να βυθιστεί από το βάρος του υπερβολικά πλούσιου φορτίου του (766-71, πβ. 771 ὄλβος ἄγαν παχυνθείς). Στο πλαίσιο της ίδιας εικόνας, ο κυβερνήτης (Ετεοκλής) συνειδητοποιεί ότι η αρχαία κατάρα του Οιδίποδα (766 παλαιφάτων ἀρᾶν) συνεπάγεται βαρύ κόστος: η φράση βαρεῖαι καταλλαγαί του αρχαίου κειμένου περιέχει μια λέξη (καταλλαγή), η οποία δηλώνει, μεταξύ άλλων, την προμήθεια που εισπράττει ο αργυραμοιβός, κάτι που μας επαναφέρει στο σύμπαν των οικονομικών δοσοληψιών. Άλλωστε, η ιδέα του (έντοκου) κέρδους, της κερδοσκοπίας και της χρηματικής απληστίας κυριαρχεί και στον οιδιπόδειο μύθο γενικά: ο Οιδίπους, ως αρχετυπική ενσάρκωση του τυράννου, συνδέεται συχνά (κυρίως στον Οιδίποδα Τύραννο) με το έντοκο κέρδος και με τον γρήγορο πλουτισμό, αλλά και την εξίσου ταχεία καταστροφή, που αυτό συνεπάγεται.
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Aesop, with his tales of tortoises and hares, foxes and grapes, and wolves in sheep's clothing has been a part of world literature for over two thousand years. Since the time of the Ancient Greeks successive generations have drawn moral... more
Aesop, with his tales of tortoises and hares, foxes and grapes, and wolves in sheep's clothing has been a part of world literature for over two thousand years. Since the time of the Ancient Greeks successive generations have drawn moral lessons from his fables, and over history his animals' exploits have been used to support differing ideals. Malcolm X was a fan, as was Imperial Britain, the Nazis had their version and the Trade Union movement published the fables too. There are over 700 fables, and they are supposedly written by a black slave far clever than his philosopher master.
Bridget Kendall traces the origin and meaning of Aesop's fables and explores what they can teach us about understanding our own extraordinary times with three world experts: Edith Hall, Professor of Classics at Kings College London; Vayos Liapis, Professor of Theatre at the Open University of Cyprus; Dan-el Padilla Peralta, Associate Professor of Classics at Princeton University.
Bridget Kendall traces the origin and meaning of Aesop's fables and explores what they can teach us about understanding our own extraordinary times with three world experts: Edith Hall, Professor of Classics at Kings College London; Vayos Liapis, Professor of Theatre at the Open University of Cyprus; Dan-el Padilla Peralta, Associate Professor of Classics at Princeton University.
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G. Pappas, A. Petrides, V. Liapis, J. Siegel, «Αncient theater of Philippi: A 3D photogrammetry-based game for distance humanities learning», in L. Gómez Chova, A. López Martínez, I. Candel Torres (eds.), INTED 2022: Proceedings of the... more
G. Pappas, A. Petrides, V. Liapis, J. Siegel, «Αncient theater of Philippi: A 3D photogrammetry-based game for distance humanities learning», in L. Gómez Chova, A. López Martínez, I. Candel Torres (eds.), INTED 2022: Proceedings of the 16th International Technology, Education and Development Conference, Valencia: IATED Academy 2022, pp. 3590-3597
Gamified learning is an engaging form of education. Serious games transform the educational process into a fun and fruitful exploration. Interactivity increases student self-efficacy and knowledge recall through participatory learning, while evaluative measures track student performance fostering effective pedagogical development.
We showcase the design and development of a game combining virtual tours, educational material, quizzes, and automatic assessment within a realistic 3D environment: the Greek Ancient Theater of Philippi. To achieve this, we used the Agile methodology and the Successive Approximation Model (SAM) in our design process. Our team continuously iterated game design and development to ensure the tool would be user-friendly and productive. The game makes use of emerging technologies such as photogrammetry to create a photorealistic space that blends the fidelity of the real world with the safety, accessibility and interactivity afforded by virtuality. The model of the featured theater was reconstructed using thousands of close-up and drone-captured photos, thus preserving the accuracy of the real theater.
The tool is targeted at a diverse audience of humanities students comprising Hellenic Literature and Culture, Theater Studies, History and more. The game contains quizzes focused on evaluating specific learning outcomes for each field represented. Quizzes are formulated as self-evaluation exercises that allow students to test their knowledge of Ancient Greek theater architecture and its uses and functions of Ancient Greek theater genres and their respective components, and of the institutional and religious context with which classical Greek theater performances were inextricably associated. The 3D virtual environment ensures a more immersive, “real-life” learning experience, allowing students to explore Greek theater activity in its natural milieu.
Appears in:
INTED2022 Proceedings (browse)
Pages: 3590-3597
Publication year: 2022
ISBN: 978-84-09-37758-9
ISSN: 2340-1079
doi: 10.21125/inted.2022.1006
Conference name: 16th International Technology, Education and Development Conference
Dates: 7-8 March, 2022
Location: Online Conference
Gamified learning is an engaging form of education. Serious games transform the educational process into a fun and fruitful exploration. Interactivity increases student self-efficacy and knowledge recall through participatory learning, while evaluative measures track student performance fostering effective pedagogical development.
We showcase the design and development of a game combining virtual tours, educational material, quizzes, and automatic assessment within a realistic 3D environment: the Greek Ancient Theater of Philippi. To achieve this, we used the Agile methodology and the Successive Approximation Model (SAM) in our design process. Our team continuously iterated game design and development to ensure the tool would be user-friendly and productive. The game makes use of emerging technologies such as photogrammetry to create a photorealistic space that blends the fidelity of the real world with the safety, accessibility and interactivity afforded by virtuality. The model of the featured theater was reconstructed using thousands of close-up and drone-captured photos, thus preserving the accuracy of the real theater.
The tool is targeted at a diverse audience of humanities students comprising Hellenic Literature and Culture, Theater Studies, History and more. The game contains quizzes focused on evaluating specific learning outcomes for each field represented. Quizzes are formulated as self-evaluation exercises that allow students to test their knowledge of Ancient Greek theater architecture and its uses and functions of Ancient Greek theater genres and their respective components, and of the institutional and religious context with which classical Greek theater performances were inextricably associated. The 3D virtual environment ensures a more immersive, “real-life” learning experience, allowing students to explore Greek theater activity in its natural milieu.
Appears in:
INTED2022 Proceedings (browse)
Pages: 3590-3597
Publication year: 2022
ISBN: 978-84-09-37758-9
ISSN: 2340-1079
doi: 10.21125/inted.2022.1006
Conference name: 16th International Technology, Education and Development Conference
Dates: 7-8 March, 2022
Location: Online Conference
Research Interests:
In Book VI of the Republic, which recounts a discussion fictionally set around 410 BC, Socrates accuses the public places where young people gather of perverting them, and this “when the multitude are seated together in assemblies or in... more
In Book VI of the Republic, which recounts a discussion fictionally set around 410 BC, Socrates accuses the public places where young people gather of perverting them, and this “when the multitude are seated together in assemblies or in court-rooms or theaters or camps
or any other public gathering of a crowd, and with loud uproar censure some of the things that are said and done and approve others, both in excess, with full-throated clamor and clapping of hands, and thereto the rocks and the region round about re-echoing redouble the din of the
censure and the praise.” (Rep., VI, 492b-c, transl. J. Adams, 1969). A relationship of continuity, if not identity, is thus established between the theatre and other places of public gathering, and the “spectators” seem to behave in a comparable manner. This workshop proposes to focus on these multiple spectatorial practices in 5th-century Athens, in order to
better grasp the ways in which they accumulated, juxtaposed or compartmentalized various experiences acquired in multiple performance venues, in the broadest sense of the term.
In fact, theatergoers belonged to a variety of socio-cultural groups and subgroups (Roselli 2011; Robson 2016) and were confronted, in their public or private lives, with a variety of spectatorial practices and situations. As men (or women?), citizens and non-citizens, they importer their prior experience of performances into the theater. For example, free Athenian citizens – but perhaps also women (Budelmann & Power 2015) – possessed a common education and choral culture (Revermann 2006), and thus attended performances not as neophytes but as “insiders.” Athenian citizens, one might assume, also mobilized their political baggage as participants in the public life of their city. The characters of Aristophanes explicitly address the bouleutes, but the poet did not forget either the presence in the public of foreigners. Theater spectators were also actors and audience at the “judicial spectacle” given in the courts of the city (Villacèque 2013). They were also officiants or participants in religious rituals and festivals taking place in a public or private setting. They were fathers, brothers, uncles, sons, (and in the case of women, mothers and daughters), and received the spectacle as members of an oikos whose functions and affects were also socially determined.
Finally, it is assumed that they could also interpret the performance in light of their knowledge and practice of other art forms, especially visual arts (Hedreen 2007). In the theatre, poets can thus assign multiple “identities” or “roles” to spectators – two notions to be questioned – but we must also think about the ways in which the roles of “theater spectators”
could be summoned in other contexts than that of theatrical performance.
This symposium aims to reflect on these questions in a fresh way. It will take the form of a workshop with time slots planned for collective reflection on texts and methods, aiming
to bring out new critical strategies.
or any other public gathering of a crowd, and with loud uproar censure some of the things that are said and done and approve others, both in excess, with full-throated clamor and clapping of hands, and thereto the rocks and the region round about re-echoing redouble the din of the
censure and the praise.” (Rep., VI, 492b-c, transl. J. Adams, 1969). A relationship of continuity, if not identity, is thus established between the theatre and other places of public gathering, and the “spectators” seem to behave in a comparable manner. This workshop proposes to focus on these multiple spectatorial practices in 5th-century Athens, in order to
better grasp the ways in which they accumulated, juxtaposed or compartmentalized various experiences acquired in multiple performance venues, in the broadest sense of the term.
In fact, theatergoers belonged to a variety of socio-cultural groups and subgroups (Roselli 2011; Robson 2016) and were confronted, in their public or private lives, with a variety of spectatorial practices and situations. As men (or women?), citizens and non-citizens, they importer their prior experience of performances into the theater. For example, free Athenian citizens – but perhaps also women (Budelmann & Power 2015) – possessed a common education and choral culture (Revermann 2006), and thus attended performances not as neophytes but as “insiders.” Athenian citizens, one might assume, also mobilized their political baggage as participants in the public life of their city. The characters of Aristophanes explicitly address the bouleutes, but the poet did not forget either the presence in the public of foreigners. Theater spectators were also actors and audience at the “judicial spectacle” given in the courts of the city (Villacèque 2013). They were also officiants or participants in religious rituals and festivals taking place in a public or private setting. They were fathers, brothers, uncles, sons, (and in the case of women, mothers and daughters), and received the spectacle as members of an oikos whose functions and affects were also socially determined.
Finally, it is assumed that they could also interpret the performance in light of their knowledge and practice of other art forms, especially visual arts (Hedreen 2007). In the theatre, poets can thus assign multiple “identities” or “roles” to spectators – two notions to be questioned – but we must also think about the ways in which the roles of “theater spectators”
could be summoned in other contexts than that of theatrical performance.
This symposium aims to reflect on these questions in a fresh way. It will take the form of a workshop with time slots planned for collective reflection on texts and methods, aiming
to bring out new critical strategies.