Buch, Englisch, 308 Seiten, Format (B × H): 137 mm x 214 mm, Gewicht: 395 g
Buch, Englisch, 308 Seiten, Format (B × H): 137 mm x 214 mm, Gewicht: 395 g
ISBN: 978-0-19-872193-2
Verlag: Oxford University Press
This book documents the origins of modern comedy by examining the evolution of 'New Comedy', the Greek genre of which the works of Menander are the only surviving example. Earlier authors like Aristophanes wrote in a completely different style: raucous, bawdy, fantastical, and vaudeville.
Menander (of whom Plutarch said, 'what other reason would a cultivated man have to go to the theatre?') and his contemporaries presented civilised, urban comedies based on the themes of quiet domestic dramas.
The Romans adapted these comedies giving them their own farcical spin. Though they based their comedies on Greek originals, Plautus referred to them as 'barbarian versions'; they were mockeries on Hellenistic themes.
Terence, by contrast, is more like Menander, whose plays he followed with some fidelity, but without success. The Romans did not crave realism, they wanted a good laugh and Terence- though he could have done so- refused to pander to their vulgar tastes. Yet he got his revenge. It was Terence who provided the touchstone boy-meets-girl plots which still appear today in various guises on the silver screen.
An authoritative Introduction sets the papers, which are by leading experts in their field, in context and explores connections between them thus examining the legacy for modern comedies. All Latin and Greek is translated.
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Europäische Geschichte
- Geisteswissenschaften Geschichtswissenschaft Alte Geschichte & Archäologie
- Geisteswissenschaften Geschichtswissenschaft Weltgeschichte & Geschichte einzelner Länder und Gebietsräume Geschichte einzelner Länder Europäische Länder
- Geisteswissenschaften Literaturwissenschaft Klassische Literaturwissenschaft
Weitere Infos & Material
- Introduction
- I. Greek Antecedents
- 1: Bernard Knox: Euripidean Comedy
- II. Menander
- 2: E. W. Handley: The Conventions of the Comic Stage and Their Exploitation By Menander
- 3: David Wiles: Marriage and Prostitution in Classical New Comedy
- 4: P. G. McC. Brown: Love and Marriage in Greek New Comedy
- 5: N. J. Lowe: Tragic Space and Comic Timing in Menander's Dyskolos
- III. Plautus
- 6: Erich Gruen: Plautus and the Public Stage
- 7: Gregor Vogt-Spira: Traditions of Theatrical Improvisation in Plautus: Some Considerations
- 8: W. S. Anderson: Plautus' Mastery of Comic Language
- 9: Erich Segal: The Menaechmi: Roman Comedy of Errors
- 10: Holt Parker: Crucially Funny, or Tranio on the Couch: The Servus Callidus and Jokes About Torture
- 11: D. Konstan: Aulularia: City-State and Individual
- 12: A. R. Sharrock: The Art of Deceit: Pseudolus and the Nature of Reading
- 13: Timothy J. Moore: The Theatre of Plautus: Playing to the Audience
- 14: Florence Dupont: The Theatrical Significance of Duplication in Plautus' Amphitruo
- 15: Niall Slater: Amphitruo, Bacchae, and Metatheatre
- IV. Terence
- 16: Walther Ludwig: The Originality of Terence and His Greek Models
- 17: Sander M. Goldberg: The Dramatic Balance of Terence's Andria
- 18: Dwora Gilula: Terence's Hecyra: A Delicate Balance of Suspense and Dramatic Irony
- 19: J. A. Barsby: Problems of Adaptation in the Eunuchus of Terence
- 20: J. C. B. Lowe: The Intrigue of Terence's Self-Tormentor
- 21: W. Geoffrey Arnott: Phormio parasitus: A Study in Dramatic Methods of Characterization
