OVERVIEW

Only a few complete examples and a multitude of fragments from the wide Greek and Latin theatrical production reached us, all of which by now reduced to bare texts. The class aims to provide the basic tools for understanding the contexts and practical aspects of ancient theater, and thus read Greek and Latin comedies and tragedies with awareness of their original performance dimension.

AIMS AND CONTENT

LEARNING OUTCOMES

Knowledge of the history and main authors of Greek and Latin theatre, from Aeschylus to Seneca. Knowledge of the evolution of theatrical buildings and performative contexts. Ability to read texts intended for the stage as 'scripts', identify the dramaturgical structures, the possible stage situation, the interlocution and other performance aspects. Elements on the tradition and fortune of Greek and Latin dramatic texts.

AIMS AND LEARNING OUTCOMES

The learning aims in detail are:

• knowledge of the main elements of the diachronic evolution of theatre in the ancient world from the origins to the imperial age: theatre buildings, performance contexts and practical aspects of staging;
• knowledge of the main authors of Greek and Latin theatre (Aeschylus, Sophocles, Euripides, Aristophanes, Menander, Plautus, Terence, Seneca) and their surviving production;
• ability to read texts intended for the stage as 'scripts', identify the dramaturgical structures, the possible stage situation, the interlocution and other performative aspects;
• elements on the tradition and fortune of Greek and Latin dramatic texts.

At the end of the class, the student will have a basic knowledge of the history of theatre in the ancient world and of the main Greek and Latin authors of the tragic and comic genres; he/she will have direct knowledge of a representative selection of ancient plays; he/she will be able to read the texts with awareness of the dramaturgical structures and performance aspects; he/she will have the first rudiments to evaluate the reception of ancient theatre in modern and contemporary productions.

TEACHING METHODS

Lessons will be held in presence. 

The first hours will offer a general overview of theatre in the ancient world through frontal lessons (with power points). This will be followed by lessons with direct reading of Greek and Latin texts in translation, but with frequent references to the original text, in which the active participation of the students will be required (also with short oral presentations as voluntary in itinere tests). With reference to the fortune of ancient dramas, video clips of contemporary performances may also be offered.

As part of the didactic support activities, Dr Valeria Bacigalupo will hold 4 lectures dedicated to Latin theatrical texts.

SYLLABUS/CONTENT

Overview of the evolution of the theatrical phenomenon in the ancient world, from classical Athens to imperial Rome: theatrical buildings, contexts and practical aspects of staging; main Greek and Latin playwrights and the structure of the plays.

Reading and interpretation of a selection of texts representative of the tragic and comic genre.

Outlines on the reception and fortune of ancient drama, with particular reference to modern and contemporary restaging of classical comedies and tragedies.

Non-attending students are encouraged to contact the teacher (serena.perrone@unige.it).

RECOMMENDED READING/BIBLIOGRAPHY

1) Recommended Handbook:

• Elena Adriani, Storia del teatro antico, Carocci 2017

2) Autonomous reading of the full text in translation of 9 dramas (possibly in editions with the original text opposite for students of Lettere classical curriculum; in any translation for other students) from a choice of the following:

• Aeschylus, The Persians
• Aeschylus, Agamemnon
• Sophocles, Antigone
• Sophocles, Electra
• Sophocles, Philoctetes
• Euripides, Alcestis
• Euripides, Medea
• Euripides, Electra
• Euripides, Helen
• Euripides, The Bacchae
• Euripides, Cyclops
• Aristophanes, Knights
• Aristophanes, Clouds
• Aristophanes, Lysistrata
• Menander, The Shield
• Plautus, Miles gloriosus
• Plautus, Amphitruo
• Seneca, Agamemnon
• Seneca, Medea

3) In relation to the fortune of one of dramas chosen at point 2 above, full viewing of a modern performance (such as those at the Greek Theatre in Syracuse) or reading of a volume from the series “Variazioni sul mito” by Marsilio editore from among the following:

• M.G. Ciani (a cura di), Antigone. Variazioni sul mito (Sofocle, Anouilh, Brecht), Venezia 2001.
• G. Avezzù (a cura di), Elettra. Variazioni sul mito (Sofocle, Euripide, Hofmannsthal, Yourcenar), Venezia 2002.
• A. Alessandri (a cura di), Filottete. Variazioni sul mito (Sofocle, Fénelon, Gide, Müller), Venezia 2009.
• M.P. Pattoni (a cura di), Alcesti. Variazioni sul mito (Euripide, Wieland, Rilke, Yourcenar, Raboni), Venezia 2006.
• M.G. Ciani (a cura di), Medea. Variazioni sul mito (Euripide, Seneca, Grillparzer, Alvaro), Venezia 2001.
• F. Donadi (a cura di), Elena. Variazioni sul mito (Euripide, Hofmannsthal, Ritsos), Venezia 2005.
• L. Pasetti (a cura di), Anfitrione. Variazioni sul mito (Plauto, Molière, Kleist, Giraudoux), Venezia 2007.

Some materials and further guidance will be provided during the semester (see Aulaweb).

TEACHERS AND EXAM BOARD

Exam Board

SERENA PERRONE (President)

VALERIA BACIGALUPO

LARA PAGANI (Substitute)

LESSONS

LESSONS START

13 February 2023

Class schedule

ANCIENT THEATRE

EXAMS

EXAM DESCRIPTION

The exam consists of an oral test aimed at assessing the acquisition of general knowledge about ancient theatre, its history and the main Greek and Latin playwrights, as well as the ability to read and interpret Greek and Latin dramatic texts with an awareness of their performative aspects.

ASSESSMENT METHODS

The examin will consist of an interview aimed at ascertaining the acquisition of general knowledge about ancient theatre, its history and the main Greek and Latin playwrights, as well as the ability to apply this knowledge to the critical reading of a selection of texts, which includes the scenes covered during the class and the 9 full-length plays read in translation by the student on their own. Clarity and propriety of language in exposition are also considered.

As a basic threshold, knowledge of the outlines of Greek and Latin theatre history and the surviving production of the main authors (Aeschylus, Sophocles, Euripides, Aristophanes, Menander, Plautus, Terence, Seneca) is required. To reach a threshold of excellence, the ability to apply the acquired knowledge to the dramaturgical analysis of texts is required, demonstrating the ability to correctly frame texts, understand their structure and performative aspects, and grasp the essential aspects for a comparative analysis with modern re-staging.

Students who wish to do so may take a short classroom presentation on one of the dramas chosen from RECOMMENDED READING/BIBLIOGRAPHY point 2, also with reference to its fortune (see RECOMMENDED READING/BIBLIOGRAPHY point 3). In the event of passing the test (not subject to numerical assessment), that part will not be required during the exam.

Exam schedule

FURTHER INFORMATION

It is suggested to wait the lessons start to buy the books.