Provides a general account of the Roman theater and its audience, and records some of the results of the author's experiments in constructing a full-scale replica stage based upon the wall paintings at Pompeii and Herculaneum, and producing Roman plays upon it.
Adolphe Appia swept away the foundations of traditional theatre and set the agenda for the development of theatrical practice this century. In Adolphe Appia: Texts on Theatre, Richard Beacham brings together for the first time selections from all his major writings. The publication of these essays, many of which have long been unavailable in English, represents a significant addition to our understanding of the development of theatrical art. It will be an invaluable sourcebook for theatre students and welcomed as an important contribution to the literature of the modern stage.
This account, analysis and critical evaluation of the work of Appia demonstrates how his far-sighted imagination also embraced the fundamental reform of scenic design, the use of theatrical space, and a greatly expanded conception of the nature and possibilities of theatrical art.
The spectacles of Imperial Rome, the religious festivals, public games, circus, animal hunts, processions and dramas, were used by emperors and politicians to convey ideologies and political policies and to test public opinion. Just as Octavian sought to gain and sway public opinion after the assassination of Caesar, so Nero held many banquets and dramatic events to ensure and maintain his popularity. Richard Beacham draws on the early Imperial accounts of Dio, Tacitus and Suetonius, as well as archaeological evidence, to trace the changes in these entertainments throughout the period; he discusses the information they contain for a better understanding of a range of policies and activities in Early Imperial ROme.
For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environments, indeed, a sort of 'living theatre'. Their layout, purpose and use reflected and informed a culture in which theatre was both a major medium of entertainment and communication and an art form drawing upon myths exploring the core values and beliefs of society. For elite Romans, their homes, as veritable stage-sets, served as visible and tangible expressions of their owners' prestige, importance and achievements. The Roman home was a carefully crafted realm in which patrons displayed themselves, while 'stage-managing' the behaviour and responses of visitor-spectators.
Introduces the concept of avant-garde art to readers as it has been practiced over the last century. Covering figures and genres in all styles of art, this is an ideal introduction to often misunderstood art forms.
For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environments, indeed, a sort of 'living theatre'. Their layout, purpose and use reflected and informed a culture in which theatre was both a major medium of entertainment and communication and an art form drawing upon myths exploring the core values and beliefs of society. For elite Romans, their homes, as veritable stage-sets, served as visible and tangible expressions of their owners' prestige, importance and achievements. The Roman home was a carefully crafted realm in which patrons displayed themselves, while 'stage-managing' the behaviour and responses of visitor-spectators.
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