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This is the first book to approach the visuality of ancient Greek drama through the lens of theater phenomenology. Gathering evidence from tragedy, comedy, satyr play, and vase painting, Naomi Weiss argues that, from its very beginnings, Greek theater in the fifth century BCE was understood as a complex interplay of actuality and virtuality. Classical drama frequently exposes and interrogates potential viewing experiences within the theatron—literally, “the place for seeing.” Weiss shows how, in so doing, it demands distinctive modes of engagement from its audiences. Examining plays and pottery with attention to the instability and ambiguity inherent in visual perception, Seeing Theater provides an entirely new model for understanding this ancient art form.
Price: $95.00
Pages: 264
Publisher: University of California Press
Imprint: University of California Press
Publication Date:
16 May 2023
Trim Size: 9.00 X 6.00 in
ISBN: 9780520393080
Format: Hardcover
“[Weiss] explicitly aligns her approach in this engrossing book with a broader prioritisation of affect and embodiment detectible in much recent English-language scholarship on Greek drama.”
Naomi Weiss is Professor of Classics at Harvard University. She is author of The Music of Tragedy: Performance and Imagination in Euripidean Theater.
Contents
List of Illustrations
Acknowledgments
Note on Texts, Translations, and Abbreviations
Introduction
Phenomenology, Aristotle, and Classical Greek Drama
Theōrein and Seeing Theater
The “Play of Actuality” beyond Fifth-Century Theater
Engaged Spectatorship
Genre and Scope
1. Opening Spaces
Tragic and Comic Space
Seeing the Setting
Staged Spectatorship
Seeing Theater, Seeing Assembly
Atopic Beginnings
The Phenomenology of Space in the Classical Greek Theater
2. Seeing What?
Is This That? Aeschylus’s Theoroi
Visual Indeterminacy in Aeschylus’s Suppliants
Winging with Words in Aristophanes’s Birds
3. Pain Between Bodies
Dustheatos
Blinded Bodies I: Euripides’s Cyclops and Hecuba
Blinded Bodies II: Sophocles’s Oedipus the King
Sympathetic Bodies: [Aeschylus’s] Prometheus Bound
Pleasure in Pain
4. Pots and Plays
Actor, Mask, Costume
The Basel Chorus Krater
The London Pandora Krater
The Naples Birds Krater
Epilogue
Works Cited
General Index
Index Locorum
List of Illustrations
Acknowledgments
Note on Texts, Translations, and Abbreviations
Introduction
Phenomenology, Aristotle, and Classical Greek Drama
Theōrein and Seeing Theater
The “Play of Actuality” beyond Fifth-Century Theater
Engaged Spectatorship
Genre and Scope
1. Opening Spaces
Tragic and Comic Space
Seeing the Setting
Staged Spectatorship
Seeing Theater, Seeing Assembly
Atopic Beginnings
The Phenomenology of Space in the Classical Greek Theater
2. Seeing What?
Is This That? Aeschylus’s Theoroi
Visual Indeterminacy in Aeschylus’s Suppliants
Winging with Words in Aristophanes’s Birds
3. Pain Between Bodies
Dustheatos
Blinded Bodies I: Euripides’s Cyclops and Hecuba
Blinded Bodies II: Sophocles’s Oedipus the King
Sympathetic Bodies: [Aeschylus’s] Prometheus Bound
Pleasure in Pain
4. Pots and Plays
Actor, Mask, Costume
The Basel Chorus Krater
The London Pandora Krater
The Naples Birds Krater
Epilogue
Works Cited
General Index
Index Locorum