Spectacles of Death in Ancient Rome

Kyle, Donald G.

doi:10.4324/9780203006351

Cited by 20 publications

(25 citation statements)

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“…instance, and whether or not it does so in a traditional way. 12 Insofar as theatre is concerned with telling a story, 13 it must do so on the assumption of an at least hypothetical other. Its production is constructed around the concept of a presentation to an other, even when it is performed or its text read entirely for private enjoyment.…”

Section: Audiencementioning

confidence: 99%

“…Also Wilshire: "Reflecting, we realize that no written script is necessary for a theatre event, and that at least one actor is necessary...There must be at least a one-member audience, for an audience-actual or possible-is ingredient in all art (we do not here question the status of the artist as his or her own audience)." (21: 6) 13. By "story" I do not mean to imply any particular structure that must be assumed present in a work of theatre, only that something is told.14 See Monica Bethe and Karen Brazell, "The Practice of Noh Theatre,"(1: 167-193).…”

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Convention, Audience, and Narrative:WhichPlay Is the Thing?

Howe¹

2011

Journal of the Philosophy of Sport

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This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator's narrative as normative for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative. Sport is frequently described in theatrical or dramatic terms, or as a kind of theatre, or even declared to be theatre: "Sport is theatre, and through it we can see the human condition cut to the bone. Sport has peace and stillness, drama, comedy, and tragedy. It conveys more vividly than any other branch of human activity the elation and despair in every person's emotional range." (6: p. 9) Certainly, there is drama in sport, and comedy, because there is passion and humour experienced by its participants and which appears to the spectator as a play presented for the observing. But, while it is clear that there are parallels and analogies between them, is the equating of sport with theatre really fair to either sport or theatre? The "theatricalisation" of sport can be linked in a great many cases to the selling of sport, as experienced with the broadcast of every Olympic Games, World Cup, Superbowl, and not a few local minor sport rivalries. Certainly, the desirability of tickets to a sporting event is increased if spectators can be persuaded that it has world historical significance or profound human interest. While both the mechanisms and the reasons for these phenomena are worthy of close examination, these will not be my target in this paper. 1 Instead, I shall explore several fundamental characteristics of sport as play that I shall then put forward as constituting evidence that many of the most 1 Providing a better show is not only motivated by filthy lucre: the ancient Roman munera could hardly be called sport (in the modern sense) though they required considerable athletic training, but however we classify them, such shows were motivated by (a) religious-judicial requirements for the punishment of criminals and (b) political expedience for those who paid for them to be put on. See (13). Convention, Audience, Narrative 2 familiar interpretations of sport as "theatrical" are misguided. I argue that not only are such interpretive efforts destructive of sport as play, but they commonly misinterpret those respects in which sport really is like theatrical-play, thereby also failing to grasp a significant value of sport for its individual particip...

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Section: Audiencementioning

confidence: 99%

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confidence: 99%

Convention, Audience, and Narrative:WhichPlay Is the Thing?

Howe¹

2011

Journal of the Philosophy of Sport

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“…S druge strane možemo pretpostaviti da nije svim gladijatorima bila dozvoljena propisna sahrana. Ovim problemom se bavilo nekoliko istraživaþa (Wiedemann 1992;Kyle 1998;Hope 2000) koji insistiraju na moguünosti da je tek manjem delu "zaslužnih" gladijatora bila dozvoljena sahrana. Oni koji su prethodno bili slobodni ljudi, gladijatori koji su tražili milost nakon poraza, oni koji nisu "hrabro poginuli", nisu mogli oþekivati da üe se sa njihovim posmrtnim ostacima postupati blagonaklono.…”

Section: Zakljuþakunclassified

Constructing Identities in the Roman Dalmatia: Gladiators of Salona and their Social Status

Janković

2011

EAP / IEA

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Natpisi na kamenim urnama gladijatora, sahranjenim u bliskom okruženju amfiteatra u Saloni, pružaju nam uvid u društveni status gladijatora, što predstavlja pravu retkost u arheološkom zapisu. Informacije koje nam ti natpisi pružaju govore nam o preferiranom identitetu sahranjenih gladijatora. S jedne strane, radi se o robovima bez rimskog građanskog prava sa ograničenim poljem društvenog delovanja, dok se sa druge strane način sahrane (kamena urna sa natpisnim poljem i predstavom) ne razlikuje mnogo od sahrana rimskih građana iz istog perioda. Iako su gladijatori bili veoma popularni, spadali su zajedno sa glumcima, prostitutkama, podvodačima i trenerima u grupu infames prema kojoj se rimsko društvo odnosilo kao prema jednoj od društveno neprihvatljivih grupa. Ipak, i pored takvog društvenog statusa gladijatora, podaci dobijeni kroz natpise sa urni, govore o biranim informacijama upućenim na način na koji se od posmatrača očekuje da prepozna određenu sliku – sliku o pripadnosti gladijatorskom pozivu. Rad se pre svega bavi analizom pomenutih informacija u cilju prepoznavanja određenih aspekata preferiranog identiteta, kako pokojnika, tako i onih koji ga sahranjuju.

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“…We shall come back to that later. Death by water -martyrdom by water -is seen as somewhat unusual (Kyle, 2001: 251 ss. ), but cases were known nonetheless, and Eusebius cites quite a few (Mart.…”

mentioning

confidence: 99%