The aim of this work is to search a method that let us analyze a classical theatre text by the po... more The aim of this work is to search a method that let us analyze a classical theatre text by the point of view of the voice and the sound. This is an hard purpose for texts that we know only in written form and that do not provide in an evident way any kind of indications about the performance as modern stage directions do, but it is not impossible because the literary text gives to us a lot of indications. In fact the theatrical text was written in an age that doesn’t provide lots of technical supports, and so the most important vehicle of the imagination was the word, and as a result the voice. I have chosen to explore this aspect in a particular text, the Euripide’s Bacchae, that is a tragedy with a very important sound component and in which we can see also a close link with the aspect of the music. In fact the tragedy, for its topic, for the ritual that is described in it, for the presence of a main character as the god Dionysus that has asiatic origins, assumes the presence in the performance of a particular kind of music that should be composed according to the phrygian mode. The doctrine of ethos in fact connects this sound to conditions of madness often due to mental alterations caused by a god, as we see in the tragedy, and this kind of madness is often related to the feminine world (that is another aspect we are going to analyze). The modern studies about theatre and philosophy show us a new attention on the voice (and consequently on the word), that now can be considered as a sound action, and helps us to recreate a virtual performance that is as close as possible to the original.
The aim of this work is to search a method that let us analyze a classical theatre text by the po... more The aim of this work is to search a method that let us analyze a classical theatre text by the point of view of the voice and the sound. This is an hard purpose for texts that we know only in written form and that do not provide in an evident way any kind of indications about the performance as modern stage directions do, but it is not impossible because the literary text gives to us a lot of indications. In fact the theatrical text was written in an age that doesn’t provide lots of technical supports, and so the most important vehicle of the imagination was the word, and as a result the voice. I have chosen to explore this aspect in a particular text, the Euripide’s Bacchae, that is a tragedy with a very important sound component and in which we can see also a close link with the aspect of the music. In fact the tragedy, for its topic, for the ritual that is described in it, for the presence of a main character as the god Dionysus that has asiatic origins, assumes the presence in the performance of a particular kind of music that should be composed according to the phrygian mode. The doctrine of ethos in fact connects this sound to conditions of madness often due to mental alterations caused by a god, as we see in the tragedy, and this kind of madness is often related to the feminine world (that is another aspect we are going to analyze). The modern studies about theatre and philosophy show us a new attention on the voice (and consequently on the word), that now can be considered as a sound action, and helps us to recreate a virtual performance that is as close as possible to the original.
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Papers by Chiara Di Macco
This is an hard purpose for texts that we know only in written form and that do not provide in an evident way any kind of indications about the performance as modern stage directions do, but it is not impossible because the literary text gives to us a lot of indications. In fact the theatrical text was written in an age that doesn’t provide lots of technical supports, and so the most important vehicle of the imagination was the word, and as a result the voice.
I have chosen to explore this aspect in a particular text, the Euripide’s Bacchae, that is a tragedy with a very important sound component and in which we can see also a close link with the aspect of the music. In fact the tragedy, for its topic, for the ritual that is described in it, for the presence of a main character as the god Dionysus that has asiatic origins, assumes the presence in the performance of a particular kind of music that should be composed according to the phrygian mode. The doctrine of ethos in fact connects this sound to conditions of madness often due to mental alterations caused by a god, as we see in the tragedy, and this kind of madness is often related to the feminine world (that is another aspect we are going to analyze).
The modern studies about theatre and philosophy show us a new attention on the voice (and consequently on the word), that now can be considered as a sound action, and helps us to recreate a virtual performance that is as close as possible to the original.
This is an hard purpose for texts that we know only in written form and that do not provide in an evident way any kind of indications about the performance as modern stage directions do, but it is not impossible because the literary text gives to us a lot of indications. In fact the theatrical text was written in an age that doesn’t provide lots of technical supports, and so the most important vehicle of the imagination was the word, and as a result the voice.
I have chosen to explore this aspect in a particular text, the Euripide’s Bacchae, that is a tragedy with a very important sound component and in which we can see also a close link with the aspect of the music. In fact the tragedy, for its topic, for the ritual that is described in it, for the presence of a main character as the god Dionysus that has asiatic origins, assumes the presence in the performance of a particular kind of music that should be composed according to the phrygian mode. The doctrine of ethos in fact connects this sound to conditions of madness often due to mental alterations caused by a god, as we see in the tragedy, and this kind of madness is often related to the feminine world (that is another aspect we are going to analyze).
The modern studies about theatre and philosophy show us a new attention on the voice (and consequently on the word), that now can be considered as a sound action, and helps us to recreate a virtual performance that is as close as possible to the original.