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The Cambridge Companion to Roman Comedy最新文献

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Prologue 序言
Pub Date : 2019-04-04 DOI: 10.1017/9780511740466.001
Martin T. Dinter
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引用次数: 0
Plautus and Terence in Their Roman Contexts 普劳图斯和特伦斯的罗马语境
Pub Date : 1900-01-01 DOI: 10.1017/9780511740466.003
G. Manuwald
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引用次数: 1
Native Italian Drama and Its Influence on Plautus 意大利本土戏剧及其对普劳图斯的影响
Pub Date : 1900-01-01 DOI: 10.1017/9780511740466.004
C. Panayotakis
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引用次数: 1
The Reception of Republican Comedy in Antiquity 古代对共和喜剧的接受
Pub Date : 1900-01-01 DOI: 10.1017/9780511740466.018
G. Manuwald
Literary Roman dramas were originally produced for single performances at specific festivals (from about 240 bc ); therefore reception initially did not extend beyond the immediate audiences. Hardly any information about reactions of spectators survives; it is likely that dramatic poets, producers, and organisers of festivals will have aimed at catering for the tastes of their audiences. Even though there was no entrance fee, presenting plays that went down well with the public was essential for poets and producers to further their careers and for organisers to make an impact. When, however, revival performances of existing plays began to emerge during the second century bc and dramatic scripts had become available as texts by the end of that century, dramas were gradually able to reach wider audiences. From this period onwards there is increasing evidence for reactions to Republican palliatae (comedies in Greek dress) from a variety of people in different set-ups. Over time these reactions vary in quantity and quality and illustrate different kinds of engagement with the plays: beyond watching plays, they include the reuse of motifs and phrases (by poets and other writers), commenting and editing (by scholars), or reading and assessment (by individual spectators or readers). This chapter reviews the extant information on the reception of Republican palliatae from the earliest available evidence in the Republican period until Late Antiquity (c. fifth century ad ).
罗马文学戏剧最初是为特定节日的单一表演而制作的(从公元前240年开始);因此,最初的接受并没有超出直接受众。几乎没有任何关于观众反应的信息留存下来;戏剧诗人、制片人和节日组织者很可能会以迎合观众的口味为目标。尽管不收入场费,但演出受公众欢迎的戏剧对诗人和制作人的事业发展和组织者的影响力至关重要。然而,当现存戏剧的复兴表演在公元前二世纪开始出现,到那个世纪末,戏剧剧本已经可以作为文本使用,戏剧逐渐能够接触到更广泛的观众。从这一时期开始,越来越多的证据表明,来自不同背景的各种各样的人对共和党palliatae(穿着希腊服装的喜剧)的反应。随着时间的推移,这些反应在数量和质量上各不相同,并说明了对戏剧的不同参与:除了观看戏剧,它们还包括对主题和短语的再利用(由诗人和其他作家),评论和编辑(由学者),或阅读和评估(由个人观众或读者)。本章回顾了从共和时期到古代晚期(公元5世纪)的最早可用证据中关于接受共和苍白的现存信息。
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引用次数: 1
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The Cambridge Companion to Roman Comedy
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