- Dipartimento di Filologia, Letteratura e Linguistica
Palazzo Venera, Via Santa Maria 36
56126 PISA - 0039-050-2215614
- Ancient Theater, Aeschylus, Agamemnon, Greek and Latin prosody and metrics, Greek choral poetry, Greek Oratory, Greek Tragedy, and 19 moreGreek Literature, Philology, History of philology, Textual Criticism, Aristophanes, Greek Comedy, Greek Metrics, Greek Lyric Poetry, Euripides, Aeschylus, Ancient Greek Theatre, Orestes, Phoenissae, Aristophanes Plutus, Bacchylides, Lysias, Gotfried Hermann, Ancient Greek Oratory, and Ancient Historyedit
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Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political oppression and violence. It is at the same time a Bildungsroman... more
Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
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A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a pervasive blending and overlapping of different linguistic registers, is represented by the reprise and refunctionalisation of the boast of epic warriors on the... more
A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
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Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du théâtre tragique antique, l'article se propose d'étudier les données que l'on peut glaner dans les textes tragiques conservés concernant... more
Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du théâtre tragique antique, l'article se propose d'étudier les données que l'on peut glaner dans les textes tragiques conservés concernant l'apparence des masques et leur relation avec la construction des personnages et les choix dramaturgiques fondamentaux de chaque pièce.
Research Interests: Greek Tragedy and Masks
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... | Ayuda. Il leoncino fra le braccia. Autores: Enrico Medda; Localización: Philologus: Zeitschrift fur klassische philologie, ISSN 0031-7985, Vol. 153, Nº 2, 2009 , pags. 195-205. © 2001-2010 Universidad de La Rioja · Todos los... more
... | Ayuda. Il leoncino fra le braccia. Autores: Enrico Medda; Localización: Philologus: Zeitschrift fur klassische philologie, ISSN 0031-7985, Vol. 153, Nº 2, 2009 , pags. 195-205. © 2001-2010 Universidad de La Rioja · Todos los derechos reservados. XHTML 1.0; UTF‑8.
Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (il riconoscimento di un nuovo nato, la celebrazione di un rito funerario, la purificazione di un omicida) funziona come strumento di inganno... more
Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (il riconoscimento di un nuovo nato, la celebrazione di un rito funerario, la purificazione di un omicida) funziona come strumento di inganno utilizzato da uno o più personaggi ai danni di un altro. Si tratta di casi in cui il rito assume una precisa funzione drammatica e permette di creare una complicità con l'uditorio, che coinvolge tanto l'autore quanto coloro che, in vari momenti dell'Elettra, dell'Ifigenia tra i Tauri e dell'Elena, si trovano sulla scena.
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RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi drammi sopravvissuti solo frammentariamente il tema dell'eros, portando in scena personaggi femminili che parlano apertamente della propria... more
RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi drammi sopravvissuti solo frammentariamente il tema dell'eros, portando in scena personaggi femminili che parlano apertamente della propria passione amorosa e che probabilmente suscitarono scandalo in una parte del pubblico ateniese. In questo lavoro ci si sofferma sul modo in cui Euripide da una parte costruisce, con continue variazioni, il rapporto fra queste donne e le loro pulsioni, dall'altra mette in scena le conseguenze che le manifestazioni estreme dell'eros comportano per gli altri personaggi coinvolti nelle vicende. Con figure come Stenebea, le due Fedre e Pasifae, in particolare, il poeta esplora tutte le possibili sfumature del rapporto fra un personaggio femminile e il suo desiderio, nelle forme della sintonia, dell'opposizione, e dello straniamento. Al di là del giudizio morale, il poeta costruisce vicende drammatiche nelle quali un essere umano, sotto la pressione di un condizionamento esterno di origine divina, può giungere a comportamenti autodistruttivi; d'altra parte, l'eccezionalità di questi caratteri femminili riesce, attraverso una serie di procedimenti, a mettere in crisi le strutture tradizionali di una cultura centrata sulla prospettiva maschile.
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Discussione della nuova edizione delle 'Supplici' di Eschilo curata da A.H. Sommerstein
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The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of... more
The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation
in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful
or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and
female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés,
manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that
he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also
shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice.
Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon,
in order to escape the hostility of the daimon itself.
in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful
or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and
female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés,
manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that
he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also
shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice.
Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon,
in order to escape the hostility of the daimon itself.
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The article exposes the critical approach adopted by the autor in preparing his extensive commentary to the Agamemnon of Aeschylus, published in the series «Supplementi al Bollettino dei Classici dell'Accademia dei Lincei», sixty-five... more
The article exposes the critical approach adopted by the autor in preparing his extensive commentary to the Agamemnon of Aeschylus, published in the series «Supplementi al Bollettino dei Classici dell'Accademia dei Lincei», sixty-five years after Eduard Fraenkel's epoch-making edition. After a survey of the main contributions in the fields of textual criticism, dramatic technique and interpretation published in the years 1950-2015 (above all the editions of D. L. Page, M. L. West and A. H. Sommerstein, and the commentary by J. Bollack and P. Judet de La Combe), the author proposes some reflections on the complex problems posed by Aeschylus' text, wich does not allow a one-sided choice between conservatism and conjectural criticism. Each problem must be evaluated by itself, and treated with an open approach, without concealing the fact that in many cases the final choice cannot be more than an acceptable compromise. A specific discussion is dedicated to metrical problems and to the difficult question of the origin and value of colometry; some final considerations concern the materials that deserve to be included in the commentary.
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At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his native land, covered by the mist poured by Athena. He thinks he has landed again in an unknown country and utters a desperate monologue,... more
At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his native land, covered by the mist poured by Athena. He thinks he has landed again in an unknown country and utters a desperate monologue, blaming the Phaecians for having deceived him. The scene is not free from problematic aspects, which have prompted many analytical attempts to explain the alleged defects of logic and poetry as the consequence of the overlapping of different versions of the story and/or of the work of more than one poet. On the other hand, many interpreters have detected in the passage a clear and successful poetic idea centered on irony. The aim of this article is to show how the poetic diction proves to be perfectly functional in this direction, and how the author creates a sophisticated interplay between traditional elements and innovative traits. The final section discusses the reception of the Homeric passage in Giovanni Pascoli's poem Il Ritorno, which was included in the second edition of Odi e Inni (1907).
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The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity College Library, Cambridge, and owned by Alfred E. Housman, preserves marginal annotations by the owner, among which some hitherto unpublished... more
The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity College Library, Cambridge, and owned by Alfred E. Housman, preserves marginal annotations by the owner, among which some hitherto unpublished conjectures. These proposals contribute to our understanding of Housman’s approach to Aeschylean philology and are published and discussed here for the first time.
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The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic dialogue preserved by P. Oxy. XXVI 2746 (TrGF adesp. 649), in which Cassandra describes to Priam, Deiphobus and a chorus the duel between... more
The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic dialogue preserved by P. Oxy. XXVI 2746 (TrGF adesp. 649), in which Cassandra describes to Priam, Deiphobus and a chorus the duel between Hektor and Achilles. It aims to call attention to some features of the text which may be considered firm evidence that this is a fragment of a play specially designed for theatrical performance. It also discusses again the thorny problems that have arisen on account of the unusual layout of the manuscript.
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Printed article
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Taking as a starting point Isabella Nova’s discussion of the scene of Aga-memnon’s death painted in the well-known krater Boston, Museum of Fine Arts 63. 1246, the article discusses the nature of the deadly peplos which entangles the... more
Taking as a starting point Isabella Nova’s discussion of the scene of Aga-memnon’s death painted in the well-known krater Boston, Museum of Fine Arts 63. 1246, the article discusses the nature of the deadly peplos which entangles the king, and the relationship between the vase and Aeschylus’ treatment of the same subject. The two artists, independently, seem to have conceived the cloth in a similar way; it is also possible that the painter tried to represent Agamemnon as still wet after the bath: this remains, however, a controversial point.
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Around 1960, Giuseppe Schiassi focussed his attention on the corpusculum of the Athenian speeches written for the public ceremony held every year in the Kerameikos in honor of the Athenian soldiers fallen in war. After his 1959 commentary... more
Around 1960, Giuseppe Schiassi focussed his attention on the corpusculum of the Athenian speeches written for the public ceremony held every year in the Kerameikos in honor of the Athenian soldiers fallen in war. After his 1959 commentary on Hypereides’ Epitaph and an article on Plato’s Menexenos (1962), he published in 1962 a commentary on the Epitaph transmitted as or. II in the corpus Lysiacum. Following in the steps of J. Walz, F. Zucker and F. Buchner, he pleads for the authenticity of the speech, interpreting it as a mature document of Lysias’ loyalty to the traditional ideals of democratic Athens, enriched with new panhellenic ideas. Though sometimes too confident in the possibility to extract personal opinions from the writings of the logographs, the commentary sets in a honest and clear way the arguments in favour of Lysianic authorship and gives an articulated picture of the place of the speech in early fourth-century Athens’ politics. His work still deservers the attention of all scholars interested in Lysias’ oratory.
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The transmitted text of Ag. 539 is usually regarded by editors as irremediably corrupt. Fraenkel and West obelize; Page and Sommerstein print with misgivings Schneidewin’s conjecture χαίρω· ⟨τὸ⟩ τεθνάναι κτλ. It seems to have escaped the... more
The transmitted text of Ag. 539 is usually regarded by editors as irremediably corrupt. Fraenkel and West obelize; Page and Sommerstein print with misgivings Schneidewin’s conjecture χαίρω· ⟨τὸ⟩ τεθνάναι κτλ. It seems to have escaped the attention of all editors that schol. vet. T 550 quotes v. 539 with the reading τὸ τεθνᾶναι and that, according the use of the introducing formula τὸ εἰρημένον ὑπὸ σοῦ, the article must be considered part of the quotation. The original text, still known to the ancient scholiast, was only slightly altered by the introduction of the wrong accentuation τεθνᾶναι. Schneidewin’s conjecture is thus confirmed, and the crux disappears.
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The article proposes a new supplement for the lacunae revealed by the metre at the end ol ll. 1672-73, challenging the widespread opinion that l. 1673 must contain the adverb καλως, extracted by Auratus froμ the paraphrase of schol. vet.... more
The article proposes a new supplement for the lacunae revealed by the metre at the end ol ll. 1672-73, challenging the widespread opinion that l. 1673 must contain the adverb καλως, extracted by Auratus froμ the paraphrase of schol. vet. T 1672b. The text can be better emended by accepting Canter’s idea that the lost adverb was εὖ and writing ⟨ἐγώ⟩ at the end of l. 1672 and ⟨τάδ’ εὖ⟩ at the end of l. 1673
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The interpretation of the short passage of AP 2.18 dealing with the license of the Athenian comic stage is a much debated issue. The anonymous author asserts that the comoedians are not allowed to satirize the demos itself, but are... more
The interpretation of the short passage of AP 2.18 dealing with the license of the Athenian comic stage is a much debated issue. The anonymous author asserts that the comoedians are not allowed to satirize the demos itself, but are encouraged to attack any individual, since the demos knows that the targets of comic abuse are almost always the rich, the well-born and the powerful. These words have often been explained as an allusion either to the existence of specific laws by which the demos aimed to restrict the traditional freedom of speech of comedy or to particular episodes of attempted censorship like the attacks of the demagogue Cleon against Aristophanes in the years 426-424 BCE. By highlighting the difficulties of each of these interpretations, this paper aims to show that the passage is better understandable as a general reflection on the relationship between the democratic power and the Dionysiac παρρησία of comedy. What is proposed here is a malicious reading of a traditional feature of comic theatre (the attacks against the most rich and powerful citizens) based on the exasperated contrast between the poor and the rich widely developed by the Anonymous in many chapters the work. The Athenian penetes are described as capable to avert satiric abuse from themselves by directing it against their natural enemies (including also politicians coming from the demos who had become rich and influent).
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The explanation of Aesch. 982f offered by an interlinear scholium of the codex Farnesianus (schol. T 983a S.) was written by someone who still read the correct ἵζει (codd. ἵξει), later restored by a conjecture of J.J. Scaliger and I.... more
The explanation of Aesch. 982f offered by an interlinear scholium of the codex Farnesianus (schol. T 983a S.) was written by someone who still read the correct ἵζει (codd. ἵξει), later restored by a conjecture of J.J. Scaliger and I. Casaubon.
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At Aesch. Ag. 295 the reading of the manuscripts FT πλάταν was emended by B. Heath into πλατᾶν, which has been adopted by many modern editors. A close scrutiny of the scholia of the manuscript T shows that at least one of them (schol. T... more
At Aesch. Ag. 295 the reading of the manuscripts FT πλάταν was emended by B. Heath into πλατᾶν, which has been adopted by many modern editors. A close scrutiny of the scholia of the manuscript T shows that at least one of them (schol. T 695a Smith) was written to explain a text with πλατᾶν, which should accordingly be considered a variant. This fact allows to understand the otherwise surprising explanation of the passage offered by Triclinius in schol. T 698a Smith.
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This paper discusses four passages from the Agamemnon of Aeschylus. In the first note (730) the author criticizes Fraenkel’s opinion about Proclus’ schol. in Hes. Op. 230-31 (πόλεμοι cannot be considered a gloss of ἄτη) and reconsiders... more
This paper discusses four passages from the Agamemnon of Aeschylus. In the first note (730) the author criticizes Fraenkel’s opinion about Proclus’ schol. in Hes. Op. 230-31 (πόλεμοι cannot be considered a gloss of ἄτη) and reconsiders Bamberger’s and Ahrens’ suggestion that ἄταις might be corrupt. The other notes concern 689 ἁβροτίμων (defended against Scaliger’s αβροπήνων), 741 ἀκασκαῖον (attention is called to the interpretation of ἄκασκα found in the ancient commentary to Pindar’s Isthmian Odes preserved by P. Oxy. 2451) and 1031 θυμαλγής (whose meaning, according to a clear and consistent literary tradition, cannot be but ‘causing pain to the θυμός’).
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À quoi ressemblait le théâtre d’Athènes au Ve siècle av. J.-C. ? Quelles possibilités de jeu offrait-il pour la mise en scène des tragédies grecques ? Comment le chœur et les personnages incarnaient-ils dans cet espace – par la voix, le... more
À quoi ressemblait le théâtre d’Athènes au Ve siècle av. J.-C. ? Quelles possibilités de jeu offrait-il pour la mise en scène des tragédies grecques ? Comment le chœur et les personnages incarnaient-ils dans cet espace – par la voix, le geste, le chant, la danse – les drames représentés lors des Grandes Dionysies ? Est-il possible, et jusqu’à quel point, de reconstituer la mise en scène originelle des tragédies d’Eschyle, Sophocle et Euripide ?
Voilà quelques-unes des questions auxquelles répond, de façon claire, précise et solidement documentée, l’ouvrage de Vincenzo Di Benedetto et Enrico Medda, La tragedia sulla scena (1re édition 1997), dont Christine Mauduit propose ici une traduction française. Destiné à tous ceux qui s’intéressent à la tragédie grecque – amateurs ou spécialistes, étudiants, enseignants, gens de théâtre – ce livre est une introduction fascinante à tous les aspects du spectacle tragique. Il éclaire, autant que la documentation le permet, les usages de la scène et les modèles formels propres à la tragédie, et tente ainsi de restituer des aspects essentiels de l’expérience théâtrale antique, faite d’un rapport immédiat et vivant avec les œuvres dramatiques, dans le cadre des grandes fêtes en l’honneur de Dionysos. Il offre aussi matière à réfléchir à la place de la tragédie grecque dans la culture de la cité et ouvre des perspectives sur la catégorie du tragique en tant qu’expérience fondamentale de l’homme.
TABLE DES MATIÈRES
Préface à la traduction française
Avant-propos
Liste des principales abréviations
Première partie. Espace et mise en scène
Chapitre 1 – L’espace scénique et les éléments de base de la mise en scène
1. Les Grandes Dionysies
2. Le théâtre
3. L’orchestra
4. Les eisodoi
5. Structures surélevées
6. Tragédies avec et sans skēnē
7. La scénographie
8. Le theologeion
9. Autres équipements
10. La « machine »
11. Le problème de l’ekkuklēma
Notes et discussions
Chapitre 2 – Les espaces non visibles : l’espace extrascénique
1. Indications générales
2. L’espace extrascénique lointain
3. L’espace extrascénique adjacent
Notes et discussions
Chapitre 3 – Les espaces non visibles : l’espace rétroscénique
1. Indications générales
2. Description de l’espace interne par un personnage du drame
3. La communication directe entre intérieur et extérieur : le personnage qui entend de l’intérieur
4. La communication directe entre intérieur et extérieur : la perception de bruits venant de l’intérieur
5. La communication directe entre intérieur et extérieur : la révélation visuelle de l’espace rétroscénique
Notes et discussions
Chapitre 4 – Personnages à différents niveaux de hauteur
Chapitre 5 – La mise en scène des tragédies d’Eschyle
1. Les Perses
2. Les Sept contre Thèbes
3. Les Suppliantes
4. Prométhée enchaîné
5. L’Orestie
6. Autres tragédies
Notes et discussions
Chapitre 6 – La mise en scène des tragédies de Sophocle
1. Antigone
2. Ajax
3. Œdipe roi
4. Électre
5. Les Trachiniennes
6. Philoctète
7. Œdipe à Colone
8. Autres tragédies
Notes et discussions
Chapitre 7 – La mise en scène des tragédies d’Euripide
1. Alceste
2. Médée
3. Les Héraclides
4. Hippolyte
5. Andromaque
6. Hécube
7. Les Suppliantes
8. Héraclès
9. Électre
10. Les Troyennes
11. Iphigénie en Tauride
12. Hélène
13. Ion
14. Les Phéniciennes
15. Oreste
16. Les Bacchantes
17. Iphigénie à Aulis
18. Autres tragédies
19. Rhésos
Notes et discussions
Deuxième partie. Acteurs, chœur et personnages
Chapitre 1 – Les parties constitutives des tragédies grecques
1. Continuité de la représentation et articulation de la tragédie
2. Aristote et les parties de la tragédie
Notes et discussions
Chapitre 2 – Les acteurs
1. La naissance de l’acteur
2. Le masque
3. Le costume
4. Modes de diction et voix des acteurs
5. Mouvements et jeux de scène
6. Autres gestes
Notes et discussions
Chapitre 3 – Personnages et acteurs
1. La règle des trois acteurs
2. Personnages muets et figurants
3. La distribution des rôles
Notes et discussions
Chapitre 4 – Le chœur en scène
1. Mouvement d’arrivée et danse
2. La présence du chœur dans l’espace scénique
3. La composition du chœur
4. La division en demi-chœurs et l’introduction de chœurs secondaires
Notes et discussions
Chapitre 5 – Chœur et acteur
1. Chœur et tragédie
2. Le chœur et l’action tragique
3. Typologie du rapport chœur/personnages
4. Interventions directes dans l’action, avec gestes et jeux de scène
5. Conseils et tentatives de dissuasion
Notes et discussions
Chapitre 6 – Le chœur : les fonctions expressives
1. Le chœur et l’élargissement du cadre de l’action
2. La lamentation
3. La peur et l’attente
4. La prière
5. Moments de joie
6. Approfondissements conceptuels
7. Rappels mythologiques
Notes et discussions
Chapitre 7 – Le cadavre sur la scène
1. La tragédie et la mort : le rôle scénique du cadavre
2. La mort dans l’espace extrascénique et le cadavre apporté sur la scène
3. La mort dans l’espace rétroscénique et l’exhibition du cadavre
4. La mort sur scène
5. L’« absence » du cadavre
6. La mort dans le temps extradramatique
7. Tragédies sans cadavres
Notes et discussion
Chapitre 8 – Les unités de temps et de lieu
Notes et discussions
Troisième partie. La tragédie grecque et son public
Chapitre 1 – La fonction socialement stabilisatrice du spectacle tragique
Notes et discussions
Chapitre 2 – Tragédie grecque et anthropologie
Chapitre 3 – La tendance à se dissocier du politique
1. L’Orestie d’Eschyle : entre réalité démonique et message politique
2. Quelques brèves considérations sur Sophocle
3. Euripide : une ligne de développement
Notes et discussions
Chapitre 4 – La réticence de la tragédie à délivrer un discours d’ordre éthique
1. La souffrance sans culpabilité
2. La réflexion gnomique finale
3. Le point de vue d’Aristote
Notes et discussions
Chapitre 5 – Remarques sur la nature du tragique
1. L’ambiguïté : une catégorie déviante
2. La cellule divisée
3. Tragédie et conscience
Notes et discussions
Chapitre 6 – Le tragique de la connaissance
1. Le passage de l’ignorance à la connaissance
2. Le personnage qui se rend compte et qui se repent
3. De la folie au recouvrement des facultés mentales
4. Le personnage se rend compte qu’il a été joué
5. Le caractère provisoire du moment de l’inconscience
Notes et discussions
Appendice bibliographique
Ouvrages de caractère général sur la tragédie et sur la vie théâtrale athénienne
Sources littéraires et iconographiques
Architecture théâtrale
Espace dramatique et performance
Machines de théâtre
Masques et costumes
Scénographie et objets scéniques
Acteurs
Chœur
Index des principaux sujets traités
Index des noms propres
Voilà quelques-unes des questions auxquelles répond, de façon claire, précise et solidement documentée, l’ouvrage de Vincenzo Di Benedetto et Enrico Medda, La tragedia sulla scena (1re édition 1997), dont Christine Mauduit propose ici une traduction française. Destiné à tous ceux qui s’intéressent à la tragédie grecque – amateurs ou spécialistes, étudiants, enseignants, gens de théâtre – ce livre est une introduction fascinante à tous les aspects du spectacle tragique. Il éclaire, autant que la documentation le permet, les usages de la scène et les modèles formels propres à la tragédie, et tente ainsi de restituer des aspects essentiels de l’expérience théâtrale antique, faite d’un rapport immédiat et vivant avec les œuvres dramatiques, dans le cadre des grandes fêtes en l’honneur de Dionysos. Il offre aussi matière à réfléchir à la place de la tragédie grecque dans la culture de la cité et ouvre des perspectives sur la catégorie du tragique en tant qu’expérience fondamentale de l’homme.
TABLE DES MATIÈRES
Préface à la traduction française
Avant-propos
Liste des principales abréviations
Première partie. Espace et mise en scène
Chapitre 1 – L’espace scénique et les éléments de base de la mise en scène
1. Les Grandes Dionysies
2. Le théâtre
3. L’orchestra
4. Les eisodoi
5. Structures surélevées
6. Tragédies avec et sans skēnē
7. La scénographie
8. Le theologeion
9. Autres équipements
10. La « machine »
11. Le problème de l’ekkuklēma
Notes et discussions
Chapitre 2 – Les espaces non visibles : l’espace extrascénique
1. Indications générales
2. L’espace extrascénique lointain
3. L’espace extrascénique adjacent
Notes et discussions
Chapitre 3 – Les espaces non visibles : l’espace rétroscénique
1. Indications générales
2. Description de l’espace interne par un personnage du drame
3. La communication directe entre intérieur et extérieur : le personnage qui entend de l’intérieur
4. La communication directe entre intérieur et extérieur : la perception de bruits venant de l’intérieur
5. La communication directe entre intérieur et extérieur : la révélation visuelle de l’espace rétroscénique
Notes et discussions
Chapitre 4 – Personnages à différents niveaux de hauteur
Chapitre 5 – La mise en scène des tragédies d’Eschyle
1. Les Perses
2. Les Sept contre Thèbes
3. Les Suppliantes
4. Prométhée enchaîné
5. L’Orestie
6. Autres tragédies
Notes et discussions
Chapitre 6 – La mise en scène des tragédies de Sophocle
1. Antigone
2. Ajax
3. Œdipe roi
4. Électre
5. Les Trachiniennes
6. Philoctète
7. Œdipe à Colone
8. Autres tragédies
Notes et discussions
Chapitre 7 – La mise en scène des tragédies d’Euripide
1. Alceste
2. Médée
3. Les Héraclides
4. Hippolyte
5. Andromaque
6. Hécube
7. Les Suppliantes
8. Héraclès
9. Électre
10. Les Troyennes
11. Iphigénie en Tauride
12. Hélène
13. Ion
14. Les Phéniciennes
15. Oreste
16. Les Bacchantes
17. Iphigénie à Aulis
18. Autres tragédies
19. Rhésos
Notes et discussions
Deuxième partie. Acteurs, chœur et personnages
Chapitre 1 – Les parties constitutives des tragédies grecques
1. Continuité de la représentation et articulation de la tragédie
2. Aristote et les parties de la tragédie
Notes et discussions
Chapitre 2 – Les acteurs
1. La naissance de l’acteur
2. Le masque
3. Le costume
4. Modes de diction et voix des acteurs
5. Mouvements et jeux de scène
6. Autres gestes
Notes et discussions
Chapitre 3 – Personnages et acteurs
1. La règle des trois acteurs
2. Personnages muets et figurants
3. La distribution des rôles
Notes et discussions
Chapitre 4 – Le chœur en scène
1. Mouvement d’arrivée et danse
2. La présence du chœur dans l’espace scénique
3. La composition du chœur
4. La division en demi-chœurs et l’introduction de chœurs secondaires
Notes et discussions
Chapitre 5 – Chœur et acteur
1. Chœur et tragédie
2. Le chœur et l’action tragique
3. Typologie du rapport chœur/personnages
4. Interventions directes dans l’action, avec gestes et jeux de scène
5. Conseils et tentatives de dissuasion
Notes et discussions
Chapitre 6 – Le chœur : les fonctions expressives
1. Le chœur et l’élargissement du cadre de l’action
2. La lamentation
3. La peur et l’attente
4. La prière
5. Moments de joie
6. Approfondissements conceptuels
7. Rappels mythologiques
Notes et discussions
Chapitre 7 – Le cadavre sur la scène
1. La tragédie et la mort : le rôle scénique du cadavre
2. La mort dans l’espace extrascénique et le cadavre apporté sur la scène
3. La mort dans l’espace rétroscénique et l’exhibition du cadavre
4. La mort sur scène
5. L’« absence » du cadavre
6. La mort dans le temps extradramatique
7. Tragédies sans cadavres
Notes et discussion
Chapitre 8 – Les unités de temps et de lieu
Notes et discussions
Troisième partie. La tragédie grecque et son public
Chapitre 1 – La fonction socialement stabilisatrice du spectacle tragique
Notes et discussions
Chapitre 2 – Tragédie grecque et anthropologie
Chapitre 3 – La tendance à se dissocier du politique
1. L’Orestie d’Eschyle : entre réalité démonique et message politique
2. Quelques brèves considérations sur Sophocle
3. Euripide : une ligne de développement
Notes et discussions
Chapitre 4 – La réticence de la tragédie à délivrer un discours d’ordre éthique
1. La souffrance sans culpabilité
2. La réflexion gnomique finale
3. Le point de vue d’Aristote
Notes et discussions
Chapitre 5 – Remarques sur la nature du tragique
1. L’ambiguïté : une catégorie déviante
2. La cellule divisée
3. Tragédie et conscience
Notes et discussions
Chapitre 6 – Le tragique de la connaissance
1. Le passage de l’ignorance à la connaissance
2. Le personnage qui se rend compte et qui se repent
3. De la folie au recouvrement des facultés mentales
4. Le personnage se rend compte qu’il a été joué
5. Le caractère provisoire du moment de l’inconscience
Notes et discussions
Appendice bibliographique
Ouvrages de caractère général sur la tragédie et sur la vie théâtrale athénienne
Sources littéraires et iconographiques
Architecture théâtrale
Espace dramatique et performance
Machines de théâtre
Masques et costumes
Scénographie et objets scéniques
Acteurs
Chœur
Index des principaux sujets traités
Index des noms propres
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Si tratta della traduzione/adattamento preparata per la messa in scena delle Fenicie diretta da Valerio Binasco in occasione del 53° ciclo di Rappresentazioni Classiche dell'INDA, nel Teatro Antico di Siracusa (maggio-giugno 2017)
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Introduzione - Abbreviazioni e sigle Capitolo I Il pianto dell’attore tragico Capitolo II Spazio scenico e conflitto tragico nell’Aiace di Sofocle Capitolo III Il vuoto della vendetta: l’Elettra di Sofocle Capitolo IV La... more
Introduzione - Abbreviazioni e sigle
Capitolo I
Il pianto dell’attore tragico
Capitolo II
Spazio scenico e conflitto tragico nell’Aiace di Sofocle
Capitolo III
Il vuoto della vendetta: l’Elettra di Sofocle
Capitolo IV
La casa di Elettra. Strategie degli spazi e costruzione del personaggio nelle due Elettre
Capitolo V
La casa e la città: spazio scenico e spazio drammatico nell’Oreste di Euripide
Capitolo VI
Fare teatro in un’epoca di crisi (I). L’Oreste di Euripide
Capitolo VII
‘Abbandonare’ o ‘svenire’? A proposito di Euripide, Oreste 304
Capitolo VIII
Il coro straniato. Considerazioni sulla voce corale nelle Fenicie di Euripide
Capitolo IX
Fare teatro in un’epoca di crisi (II). La nuova drammaturgia delle Fenicie
Capitolo X
Drammaturgia e critica del testo (I). Testo e scena in Aesch.
Ag. 1649-1654
Capitolo XI
Drammaturgia e critica del testo (II). Il caso delle Fenicie
Capitolo XII
Il monologo di Cresfonte e una parodia aristofanea recuperata
(Eur. fr. 448a, 83-109 K., Alc. 840, Ar. Ach. 480-488)
Capitolo XIII
L’eroe alla porta. Osservazioni su una tipologia del monologo tragico
Capitolo XIV
Aristofane e il monologo
Capitolo XV
Aristofane e un inno a rovescio: la potenza di Pluto in Pl. 124-221
Capitolo XVI
Rappresentare l’arcaico: Pasolini ed Eschilo negli Appunti
per un’ Orestiade Africana
Bibliografia
Indice dei luoghi citati
Indice dei nomi
Indice dei termini e degli argomenti notevoli
Capitolo I
Il pianto dell’attore tragico
Capitolo II
Spazio scenico e conflitto tragico nell’Aiace di Sofocle
Capitolo III
Il vuoto della vendetta: l’Elettra di Sofocle
Capitolo IV
La casa di Elettra. Strategie degli spazi e costruzione del personaggio nelle due Elettre
Capitolo V
La casa e la città: spazio scenico e spazio drammatico nell’Oreste di Euripide
Capitolo VI
Fare teatro in un’epoca di crisi (I). L’Oreste di Euripide
Capitolo VII
‘Abbandonare’ o ‘svenire’? A proposito di Euripide, Oreste 304
Capitolo VIII
Il coro straniato. Considerazioni sulla voce corale nelle Fenicie di Euripide
Capitolo IX
Fare teatro in un’epoca di crisi (II). La nuova drammaturgia delle Fenicie
Capitolo X
Drammaturgia e critica del testo (I). Testo e scena in Aesch.
Ag. 1649-1654
Capitolo XI
Drammaturgia e critica del testo (II). Il caso delle Fenicie
Capitolo XII
Il monologo di Cresfonte e una parodia aristofanea recuperata
(Eur. fr. 448a, 83-109 K., Alc. 840, Ar. Ach. 480-488)
Capitolo XIII
L’eroe alla porta. Osservazioni su una tipologia del monologo tragico
Capitolo XIV
Aristofane e il monologo
Capitolo XV
Aristofane e un inno a rovescio: la potenza di Pluto in Pl. 124-221
Capitolo XVI
Rappresentare l’arcaico: Pasolini ed Eschilo negli Appunti
per un’ Orestiade Africana
Bibliografia
Indice dei luoghi citati
Indice dei nomi
Indice dei termini e degli argomenti notevoli
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Introduzione. Capitolo 1. Metrica e testo (1796-1799). Capitolo 2. Un quindicennio di studi eschilei (1800-1815). Capitolo 3. 1816: annus mirabilis. Capitolo 4. Verso l’edizione (18171848). Capitolo 5. De re scenica. Capitolo 6.... more
Introduzione. Capitolo 1. Metrica e testo (1796-1799). Capitolo 2. Un quindicennio di studi eschilei (1800-1815). Capitolo 3. 1816: annus mirabilis. Capitolo 4. Verso l’edizione (18171848). Capitolo 5. De re scenica. Capitolo 6. Aeschyli Tragoediae. Conclusione. Appendice: Le congetture di Gottfried Hermann all’ Agamennone di Eschilo.
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Critical edition and Commentary of the fragmentary works of Lysias preserved by P. Oxy. XIII 1606
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Foto notturne scattate sulle vette delle Apuane dai quattro autori nelle notti di plenilunio, in tutte le stagioni dell'anno, e accompagnate da frammenti poetici di vari autori.
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Research Interests: Botany and Apuan Alps
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Aeschylus’ Agamemnon Catalogue is a database containing the critical bibliography of Aeschylus’ Agamemnon starting from Aldus’ 1518 editio princeps, here organized by categories. Through an easy-to-use search engine, searches can be... more
Aeschylus’ Agamemnon Catalogue is a database containing the critical bibliography of Aeschylus’ Agamemnon starting from Aldus’ 1518 editio princeps, here organized by categories. Through an easy-to-use search engine, searches can be performed on more than 2600 items and about 600 active hyperlinks to the full text of referenced books or articles available online using various parameters: author, title, year, journal/collection, keywords (Cassandra scene, commentary, death of Agamemnon, edition, exodos, first episode, first stasimon, fourth stasimon, fourth episode, fifth episode, history of classical scholarship, history of the text, interpretation, language, metrics, parodos, performance, prologue, reception, religion, second episode, second stasimon, style, textual criticism, third episode, third stasimon, translation). Results can be exported in BibTex or EndNote format, or simply copied and pasted in a Word file.
Compared to general purpose bibliographic search engine, Aeschylus’ Agamemnon catalogue provides a high precision and a high recall on the specific aeschylean topic.
Compared to general purpose bibliographic search engine, Aeschylus’ Agamemnon catalogue provides a high precision and a high recall on the specific aeschylean topic.
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Research Interests: Greek Tragedy and Metrics
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Review of Milagros Quijada Sagredo – Maria Carmen Encinas Reguero (eds.), Connecting Rhetoric and Attic Drama, (“Le Rane”, Studi 66), Bari, Levante Editore, 2017
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Review of C. Tóibín, La casa dei nomi, traduzione di G. Granato, Torino Einaudi 2018
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The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of... more
The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés, manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice. Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon, in order to escape the hostility of the daimon itself.