Intertextual biography in the rivalry of Cratinus and Aristophanes

Biles, Zachary P.

doi:10.1017/cbo9780511779169.005

Cited by 13 publications

(11 citation statements)

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“…The latter has been of major were thought to be, particularly suited to the task. On the interest to scholars recently: Sidwell (1995), Rosen selection procedure, see Marshall andWilligenburg (2004) (2000), Ruffell (2002) and Biles (2002). 91-2 and Csapo and Slater (1995) 157-8. these theatrical experiences, explicitly mentioned in the case of Helen (produced in 412, together with the Andromeda, while the Palamedes dates back to 415).…”

Section: Discussionmentioning

confidence: 99%

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The competence of theatre audiences in fifth- and fourth-century Athens

Revermann

2006

J. Hell. Stud.

130

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AbstractAfter dismissing various possible approaches to the question of audience competence in fifth- and fourth-century Athens, this article proposes to tackle this important and notorious problem with a novel strategy that is not ‘top-down’ but ‘bottom-up’, starting with spectators rather than plays and focusing on the bottom-line of expertise which can be taken to be shared by the majority of audience members. An umbrella-notion of ‘theatrical competence’ is established before two central characteristics of drama performed in Athens are exploited: the participation of spectators in the citizen-chorus at the Great Dionysia, and the implications for the competence issue of frequent exposure to an art form which is as formally conservative as preserved Attic drama. What emerges is a model of stratified decoding by spectators (élite and non-élite) who share a considerable level of theatrical competence. In a final step, this model is applied to a number of case studies taken from fifth-century comedy.

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Section: Discussionmentioning

confidence: 99%

“…65 Ruffell (2002) and Biles (2002). Hubbard (1991) In case the two of you are afraid that there is some dullness among the spectators so that they do not understand the subtleties as you speak, don't worry about this at all.…”

Section: Discussionmentioning

confidence: 99%

The competence of theatre audiences in fifth- and fourth-century Athens

Revermann

2006

J. Hell. Stud.

130

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“…Dobrov 2001, who reads Acharnians, Peace, Birds, and Frogs as systematic transpositions of tragic plots into a comic key. Biles 2002 andRufFell 2002 discuss paracomedy and show that the whole plots of Knights and Wasps are conceived as programmatic responses to the thematic concerns and narrative strategies deployed by Cratinus or even competitive rewritings of his plays. 7.…”

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confidence: 99%

Embodying the Tragic Father(s): Autobiography and Intertextuality in Aristophanes

Telò

2010

Classical Antiquity

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This paper examines the role of the generation gap in Aristophanes' construction of his persona throughout Wasps, Clouds, and Peace. It contends that in Wasps and Clouds Aristophanes defines the relationship with his audience and his rivals by presenting himself as the figure of a paternal son. The same stance shapes the comic poet's generic self-positioning in the initial scene of Peace, where the parody of Euripides' Aeolus and Bellerophon evinces a corrective attitude in relation not only to the troubled images of fatherhood offered in the two tragic plays, but also to Aristophanes' unsuccessful performances as a paternal son in his earlier comedies. Euripidean intertextuality thus serves as a discursive medium through which Aristophanes dramatizes the turning points of his poetic autobiography. INTERGENERATIONAL AND INTERGENERIC FRICTIONSAs is well known, Aristophanic drama displays a thematic preoccupation with the generation gap.' In several of his plays Aristophanes portrays irreconcilable conflicts between fathers and sons. To be sure, the poet stages other kinds of rivalries, but for Aristophanes the paternal-filial conflict appears to be both a

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“…4 In recent years, Biles (2002) has demonstrated that Cratinus also constructed a self-conscious competitive stance in presenting himself and his poetry. The element of competition in Athenian dramatic performances is now widely used as an interpretative tool, 1 especially in Old comedy, where the competitive conditions of performance are overtly articulated.…”

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confidence: 99%