Roman Republican Theatre

Manuwald, Gesine

doi:10.1017/cbo9780511920868

Cited by 301 publications

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“…As Manuwald [37] discusses, C. Claudius Pulcher, who was an elected official of Rome responsible for public works and public buildings, had a machine that can produce sound effects such as an imitation of the noise of thunder to exert the state's power to the audiences. Alten [40] argues that this worked both ways: firstly, from emperor to the mass.…”

Section: Building For Capturing Public Mind Through Ears: Evolution Omentioning

confidence: 99%

“…There were many incidences of attempts to prevent people from building a permanent theatre; yet smaller and wooden temporary theatres were allowed [37]. Modern scholars think that authorities were against the erection of a permanent theatre which would provide seats for the populace.…”

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confidence: 99%

“…The nobility thought that such a structure would enable politically explosive gatherings. The senate considered permanent theatres politically dangerous since public demonstrations regularly took place in Greek theatres [37].…”

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Building for Capturing Public Mind Through Ears: Evolution of Architectural Typology as a Mechanism of Auditory Deception and Urban Control

Çetin¹,

Saher²

2017

JCEA

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Abstract:The paper takes the notion of soundscape and its relation to power relations within the scope of architecture. Indeed, sound has long been devised as a tool so as to control people and urban realm. The paper discusses the politics, aesthetics and social character of urban soundscape by elucidating the materialized shape of sound, that is to say; the close relationship between architecture and sound, between materiality of the physical form and its audio-spatial experience to understand how soundscape is controlled by architectural means for establishing power over masses and class segregation in various contexts. Similar to the case of physical-landscape, the soundscape in various types of buildings also manifests the idealized power relationships in any society through the control of sound in architectural space. Therefore, the auditory characteristics of these spatial precedents are elucidated in this study. It is argued that sound is a very political entity and auditory mechanisms are utilized for the purposes of both surveillance and suppression of political opponents. The paper intends to demonstrate that sound has a very dark history under the disguise of grandiose aesthetics, and thus, it is very important in establishing power. Spatial typologies are classified according to their auditory functions in relation to establishing power in urban realm.Key words: Politics of sound, soundscape, aural space, auditory surveillance, auditory suppression. Introductıon The paper discusses the role of "sound" in shaping our physical environment and argues that despite the dominance of visual and relevant aesthetic attributes of almost all edifices, there is a subtle yet very strong auditory agenda behind the majority of architectural activity. This agenda can be summarized as an endeavor to control the sound and its impacts on individuals as well as masses in order to manipulate the public perception (and thus, their thinking and responsive behavior) within a controlled spatial setting whereby this hidden agenda is enhanced with visual and other means of architectural design. Hence, architecture appears to be closely associated with power and with control of public realm not only via physical organization of space or spatial semantics, Corresponding author: Murat Cetin, associate professor, Dr., research field: urban morphology. E-mail: murat.cetin0001@gmail.com. but also via auditory design of an intended soundscape that is accomplished by architectural components as a systematic analysis of architectural precedents could clearly reveal. This paper intends to elucidate the auditory raison d'etre of architectural precedents that are selected from spatial typologies of both public control and power exertion.Indeed, scholarly work has long argued and proved the direct relation both between power and landscape (i.e., space and/or place), as well as between power and soundscape. Foucault [1] interprets the association of space with identity as a problem of power and governance. Similarly, Dovey [2] points out t...

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Section: Building For Capturing Public Mind Through Ears: Evolution Omentioning

confidence: 99%

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confidence: 99%

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Building for Capturing Public Mind Through Ears: Evolution of Architectural Typology as a Mechanism of Auditory Deception and Urban Control

Çetin¹,

Saher²

2017

JCEA

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“…2.1.214), there is a multitude of others, he tells us, some even deserving praise (208–13), prepared to put up with a live audience's scorn (215). For the scattered testimonia on original tragic composition in late Republican Rome see Manuwald (2011) 278–80; cf. Fantham (2013) 152–8 (with a list of aristocrats dabbling in tragedy in the Republic and early principate, 155).…”

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INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Lada‐Richards

2019

Camb. class. j.

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Starting from the comparative standpoint of elite hostility to nineteenth-century British melodrama, this article posits pantomime's ‘melodramatic’ mode of exhibitionist excess as one of the missing links in the landscape against which Horace composed his Ars poetica. It suggests that lines 182–8 of the Ars that disapprove the display of death, violence and physical impossibilities on the tragic stage may be better understood as Horace's hostile response to pantomime's increasing prominence in Roman theatrical life, more precisely to the dislocation of ‘horror’ and ‘marvel’ from the realm of the ‘heard’ to that of the ‘seen’ favoured by the pantomime genre.

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“…For an overview of how native Italic and particularly Atellan theatrical practices may have influenced Plautus' work, see Petrides (2014). Manuwald (2011) 226 cites Aulus Gellius NA 3.3.14 (in operis artificum scaenicorum) as evidence that Plautus worked in the theatre in a technical or organizational capacity, besides writing plays. 7 Wright (1974) 36 detects in Roman comedy "a concentration on language as an object of interest in itself."…”

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Ludic Lessons: Roman Comedy on Stage and in Class

Bexley¹

2015

The Classical Journal

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The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that:• a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders.Please consult the full DRO policy for further details. The pedagogical and research aims that underpin the 2012 NEH Summer Institute on Roman Comedy are part of a broader academic trend towards analyzing dramatic works in terms of performance, not just in terms of literary genre. This "performative turn," as it is now known, began in the early twentieth century with Herrmann, a German literary historian and theatre theorist who argued that the ephemeral act of staging a play was the most crucial element of any play's meaning. Herrmann differentiated between drama, which he defined as "the literary creation of one author," and theatre, which for him resembled a game involving both actors and spectators, with each group participating in equal if different ways to develop the play's various and ever-shifting connotations. 1 Under this rubric, the study of "drama" implied traditional, author-centered literary criticism, founded on assumptions about the intent of individual playwrights and the primacy of the written word. By contrast, the interconnected disciplines of theatre and performance studies treated plays as physical and temporal events, in other words, as performances. These same disciplines emphasized the audience's role in producing the overall aesthetic experience that constitutes a "play."A similar division, between theatre as text and theatre as event, emerged in U.S. universities during the 1910s and 20s.2 It has led over time to the development of independent Theatre and/or Performance Studies departments, most of which offer practical training in dramatic production alongside more theoretical study.3 Courses in Drama, on the other hand, approach plays primarily as texts, and are more likely to be offered as a subset of English or Comparative Literature. The 2012 NEH Summer Institute is best understood against this historical background, because by conducting empirical research into the performance of Roman palliatae, the scholars involved in this project have made a definite methodological statement about the value of staging dramatic literature, for pedagogy and for research. To engage in performance for the purpose of academic analysis is to believe that besides comprising a script, theatre also comprises costumes, props, actors, sound, light, stage space, and audience. Moreover, using performance as a pedagogical tool has two major advantages: it offers a means of bridging the divide between teaching and research, and it helps students develop their own research projects by encouraging them to engage with Roman Comedy at a pe...

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Roman Republican Theatre

Cited by 301 publications

References 0 publications

Building for Capturing Public Mind Through Ears: Evolution of Architectural Typology as a Mechanism of Auditory Deception and Urban Control

Building for Capturing Public Mind Through Ears: Evolution of Architectural Typology as a Mechanism of Auditory Deception and Urban Control

INCREDVLVS ODI: HORACE AND THE SUBLITERARY AESTHETIC OF THE AUGUSTAN STAGE

Ludic Lessons: Roman Comedy on Stage and in Class

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