David Mulroy (d'ora in poi M.), professor emeritus of classics della University of Wisconsin-Milw... more David Mulroy (d'ora in poi M.), professor emeritus of classics della University of Wisconsin-Milwaukee, arricchisce con questo volume il suo percorso di traduttore di classici, che annovera fra l'altro le traduzioni dei drammi tebani di Sofocle (Edipo re [2011], Antigone [2013], Edipo a Colono [2015]). Non si fatica certo a condividere l'ammirazione che l'autore nutre per l'Agamennone, una tragedia che con la sua ineguagliabile ricchezza linguistica e concettuale, e con le difficoltà talora esasperanti che oppone all'interprete, rappresenta una sfida entusiasmante per chi si proponga di far rivivere almeno in parte la potenza espressiva della dizione eschilea all'orecchio del lettore e dello spettatore moderno: un compito che M. ha assolto egregiamente. La traduzione del testo è preceduta da una breve prefazione (pp. ix-xii) e da un'introduzione (pp. xiii-xxxiv) che fornisce le informazioni biografiche essenziali e traccia un quadro generale dell'arte drammatica di Eschilo così come si manifesta nell'Agamennone. Completano la sezione introduttiva un'appendice che riassume il background mitologico cui fa riferimento la trilogia (pp. xxxv-xxxviii) e un'utile guida alla non semplice pronuncia inglese dei nomi propri greci 1. M. è chiaro ed essenziale nel presentare i pochi dati biografici noti, e mette opportunamente in guardia il lettore riguardo alle indicazioni contenute nella Vita di Eschilo tramandata assieme al testo nei manoscritti medievali, che sono spesso invenzioni aneddotiche destinate ad arricchire un ristretto nucleo di notizie storicamente fondate. Per quanto riguarda la valutazione della drammaturgia eschilea, M. esprime un giudizio restrittivo circa il valore delle opere anteriori all'Orestea: «Today it is difficult to argue that Persians, Seven against Thebes, or Suppliants is a great drama. Approximately half of the text is devoted to repetitious choral songs and chants that add little to our understanding of the situation. The plot lacks reversal and complications. There are no memorable characters» (p. xviii). Solo con l'Orestea Eschilo compie il passo decisivo, conseguendo risultati estetici e drammatici notevolmente superiori alle altre opere; le parti di quest'opera sono infatti «as compelling in content as they are elegant in form» (p. xxi). Si potrebbe discutere su alcuni aspetti di questa valutazione (non credo ad esempio
Agamennone classico e contemporaneo a cura di Francesco Citti, Alessandro Iannucci, Antonio Ziosi, 2022
Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of
the ancient myth of ... more Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
METra 1 Epica e tragedia greca: una mappatura, a cura di Andrea Rodighiero, Giacomo Scavello, Anna Maganuco, 2022
A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a
pervasive blending and ... more A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du t... more Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du théâtre tragique antique, l'article se propose d'étudier les données que l'on peut glaner dans les textes tragiques conservés concernant l'apparence des masques et leur relation avec la construction des personnages et les choix dramaturgiques fondamentaux de chaque pièce.
Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (i... more Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (il riconoscimento di un nuovo nato, la celebrazione di un rito funerario, la purificazione di un omicida) funziona come strumento di inganno utilizzato da uno o più personaggi ai danni di un altro. Si tratta di casi in cui il rito assume una precisa funzione drammatica e permette di creare una complicità con l'uditorio, che coinvolge tanto l'autore quanto coloro che, in vari momenti dell'Elettra, dell'Ifigenia tra i Tauri e dell'Elena, si trovano sulla scena.
ACCADEMIA NAZIONALE DEI LINCEI BOLLETTINO dei CLASSICI a cura del Comitato per la preparazione dell'edizione nazionale dei classici greci e latini SERIE TERZA -FASCICOLO XLI , 2020
RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi dra... more RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi drammi sopravvissuti solo frammentariamente il tema dell'eros, portando in scena personaggi femminili che parlano apertamente della propria passione amorosa e che probabilmente suscitarono scandalo in una parte del pubblico ateniese. In questo lavoro ci si sofferma sul modo in cui Euripide da una parte costruisce, con continue variazioni, il rapporto fra queste donne e le loro pulsioni, dall'altra mette in scena le conseguenze che le manifestazioni estreme dell'eros comportano per gli altri personaggi coinvolti nelle vicende. Con figure come Stenebea, le due Fedre e Pasifae, in particolare, il poeta esplora tutte le possibili sfumature del rapporto fra un personaggio femminile e il suo desiderio, nelle forme della sintonia, dell'opposizione, e dello straniamento. Al di là del giudizio morale, il poeta costruisce vicende drammatiche nelle quali un essere umano, sotto la pressione di un condizionamento esterno di origine divina, può giungere a comportamenti autodistruttivi; d'altra parte, l'eccezionalità di questi caratteri femminili riesce, attraverso una serie di procedimenti, a mettere in crisi le strutture tradizionali di una cultura centrata sulla prospettiva maschile.
The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of p... more The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés, manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice. Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon, in order to escape the hostility of the daimon itself.
Reinterpretare Eschilo. Verso una nuova edizione dei drammi, 2019
The article exposes the critical approach adopted by the autor in preparing his extensive commen... more The article exposes the critical approach adopted by the autor in preparing his extensive commentary to the Agamemnon of Aeschylus, published in the series «Supplementi al Bollettino dei Classici dell'Accademia dei Lincei», sixty-five years after Eduard Fraenkel's epoch-making edition. After a survey of the main contributions in the fields of textual criticism, dramatic technique and interpretation published in the years 1950-2015 (above all the editions of D. L. Page, M. L. West and A. H. Sommerstein, and the commentary by J. Bollack and P. Judet de La Combe), the author proposes some reflections on the complex problems posed by Aeschylus' text, wich does not allow a one-sided choice between conservatism and conjectural criticism. Each problem must be evaluated by itself, and treated with an open approach, without concealing the fact that in many cases the final choice cannot be more than an acceptable compromise. A specific discussion is dedicated to metrical problems and to the difficult question of the origin and value of colometry; some final considerations concern the materials that deserve to be included in the commentary.
Ítaca. Quaderns Catalans de Cultura Clàssica , 2018
At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his n... more At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his native land, covered by the mist poured by Athena. He thinks he has landed again in an unknown country and utters a desperate monologue, blaming the Phaecians for having deceived him. The scene is not free from problematic aspects, which have prompted many analytical attempts to explain the alleged defects of logic and poetry as the consequence of the overlapping of different versions of the story and/or of the work of more than one poet. On the other hand, many interpreters have detected in the passage a clear and successful poetic idea centered on irony. The aim of this article is to show how the poetic diction proves to be perfectly functional in this direction, and how the author creates a sophisticated interplay between traditional elements and innovative traits. The final section discusses the reception of the Homeric passage in Giovanni Pascoli's poem Il Ritorno, which was included in the second edition of Odi e Inni (1907).
S. Bigliazzi, F. Lupi, G. Ugolini (eds.), Συναγωνίζεσθαι. Studies in Honour of Guido Avezzù, 2018
The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity Coll... more The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity College Library, Cambridge, and owned by Alfred E. Housman, preserves marginal annotations by the owner, among which some hitherto unpublished conjectures. These proposals contribute to our understanding of Housman’s approach to Aeschylean philology and are published and discussed here for the first time.
The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic... more The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic dialogue preserved by P. Oxy. XXVI 2746 (TrGF adesp. 649), in which Cassandra describes to Priam, Deiphobus and a chorus the duel between Hektor and Achilles. It aims to call attention to some features of the text which may be considered firm evidence that this is a fragment of a play specially designed for theatrical performance. It also discusses again the thorny problems that have arisen on account of the unusual layout of the manuscript.
David Mulroy (d'ora in poi M.), professor emeritus of classics della University of Wisconsin-Milw... more David Mulroy (d'ora in poi M.), professor emeritus of classics della University of Wisconsin-Milwaukee, arricchisce con questo volume il suo percorso di traduttore di classici, che annovera fra l'altro le traduzioni dei drammi tebani di Sofocle (Edipo re [2011], Antigone [2013], Edipo a Colono [2015]). Non si fatica certo a condividere l'ammirazione che l'autore nutre per l'Agamennone, una tragedia che con la sua ineguagliabile ricchezza linguistica e concettuale, e con le difficoltà talora esasperanti che oppone all'interprete, rappresenta una sfida entusiasmante per chi si proponga di far rivivere almeno in parte la potenza espressiva della dizione eschilea all'orecchio del lettore e dello spettatore moderno: un compito che M. ha assolto egregiamente. La traduzione del testo è preceduta da una breve prefazione (pp. ix-xii) e da un'introduzione (pp. xiii-xxxiv) che fornisce le informazioni biografiche essenziali e traccia un quadro generale dell'arte drammatica di Eschilo così come si manifesta nell'Agamennone. Completano la sezione introduttiva un'appendice che riassume il background mitologico cui fa riferimento la trilogia (pp. xxxv-xxxviii) e un'utile guida alla non semplice pronuncia inglese dei nomi propri greci 1. M. è chiaro ed essenziale nel presentare i pochi dati biografici noti, e mette opportunamente in guardia il lettore riguardo alle indicazioni contenute nella Vita di Eschilo tramandata assieme al testo nei manoscritti medievali, che sono spesso invenzioni aneddotiche destinate ad arricchire un ristretto nucleo di notizie storicamente fondate. Per quanto riguarda la valutazione della drammaturgia eschilea, M. esprime un giudizio restrittivo circa il valore delle opere anteriori all'Orestea: «Today it is difficult to argue that Persians, Seven against Thebes, or Suppliants is a great drama. Approximately half of the text is devoted to repetitious choral songs and chants that add little to our understanding of the situation. The plot lacks reversal and complications. There are no memorable characters» (p. xviii). Solo con l'Orestea Eschilo compie il passo decisivo, conseguendo risultati estetici e drammatici notevolmente superiori alle altre opere; le parti di quest'opera sono infatti «as compelling in content as they are elegant in form» (p. xxi). Si potrebbe discutere su alcuni aspetti di questa valutazione (non credo ad esempio
Agamennone classico e contemporaneo a cura di Francesco Citti, Alessandro Iannucci, Antonio Ziosi, 2022
Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of
the ancient myth of ... more Colm Tóibín’s novel House of Names proposes an engaging reinterpretation of
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
METra 1 Epica e tragedia greca: una mappatura, a cura di Andrea Rodighiero, Giacomo Scavello, Anna Maganuco, 2022
A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a
pervasive blending and ... more A peculiar feature of Aeschylus’s Oresteia, a trilogy characterized by a
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du t... more Dans le cadre d'une discussion sur le problème de l'origine et de la signification du masque du théâtre tragique antique, l'article se propose d'étudier les données que l'on peut glaner dans les textes tragiques conservés concernant l'apparence des masques et leur relation avec la construction des personnages et les choix dramaturgiques fondamentaux de chaque pièce.
Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (i... more Questo lavoro esamina tre casi euripidei nei quali il riferimento ad azioni rituali specifiche (il riconoscimento di un nuovo nato, la celebrazione di un rito funerario, la purificazione di un omicida) funziona come strumento di inganno utilizzato da uno o più personaggi ai danni di un altro. Si tratta di casi in cui il rito assume una precisa funzione drammatica e permette di creare una complicità con l'uditorio, che coinvolge tanto l'autore quanto coloro che, in vari momenti dell'Elettra, dell'Ifigenia tra i Tauri e dell'Elena, si trovano sulla scena.
ACCADEMIA NAZIONALE DEI LINCEI BOLLETTINO dei CLASSICI a cura del Comitato per la preparazione dell'edizione nazionale dei classici greci e latini SERIE TERZA -FASCICOLO XLI , 2020
RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi dra... more RIASSUNTO: Nella prima fase della sua produzione artistica, Euripide ha esplorato in numerosi drammi sopravvissuti solo frammentariamente il tema dell'eros, portando in scena personaggi femminili che parlano apertamente della propria passione amorosa e che probabilmente suscitarono scandalo in una parte del pubblico ateniese. In questo lavoro ci si sofferma sul modo in cui Euripide da una parte costruisce, con continue variazioni, il rapporto fra queste donne e le loro pulsioni, dall'altra mette in scena le conseguenze che le manifestazioni estreme dell'eros comportano per gli altri personaggi coinvolti nelle vicende. Con figure come Stenebea, le due Fedre e Pasifae, in particolare, il poeta esplora tutte le possibili sfumature del rapporto fra un personaggio femminile e il suo desiderio, nelle forme della sintonia, dell'opposizione, e dello straniamento. Al di là del giudizio morale, il poeta costruisce vicende drammatiche nelle quali un essere umano, sotto la pressione di un condizionamento esterno di origine divina, può giungere a comportamenti autodistruttivi; d'altra parte, l'eccezionalità di questi caratteri femminili riesce, attraverso una serie di procedimenti, a mettere in crisi le strutture tradizionali di una cultura centrata sulla prospettiva maschile.
The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of p... more The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés, manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice. Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon, in order to escape the hostility of the daimon itself.
Reinterpretare Eschilo. Verso una nuova edizione dei drammi, 2019
The article exposes the critical approach adopted by the autor in preparing his extensive commen... more The article exposes the critical approach adopted by the autor in preparing his extensive commentary to the Agamemnon of Aeschylus, published in the series «Supplementi al Bollettino dei Classici dell'Accademia dei Lincei», sixty-five years after Eduard Fraenkel's epoch-making edition. After a survey of the main contributions in the fields of textual criticism, dramatic technique and interpretation published in the years 1950-2015 (above all the editions of D. L. Page, M. L. West and A. H. Sommerstein, and the commentary by J. Bollack and P. Judet de La Combe), the author proposes some reflections on the complex problems posed by Aeschylus' text, wich does not allow a one-sided choice between conservatism and conjectural criticism. Each problem must be evaluated by itself, and treated with an open approach, without concealing the fact that in many cases the final choice cannot be more than an acceptable compromise. A specific discussion is dedicated to metrical problems and to the difficult question of the origin and value of colometry; some final considerations concern the materials that deserve to be included in the commentary.
Ítaca. Quaderns Catalans de Cultura Clàssica , 2018
At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his n... more At Od. XIII 187-221 Odysseus' wakes up on Ithaca's soil, but does not immediately recognize his native land, covered by the mist poured by Athena. He thinks he has landed again in an unknown country and utters a desperate monologue, blaming the Phaecians for having deceived him. The scene is not free from problematic aspects, which have prompted many analytical attempts to explain the alleged defects of logic and poetry as the consequence of the overlapping of different versions of the story and/or of the work of more than one poet. On the other hand, many interpreters have detected in the passage a clear and successful poetic idea centered on irony. The aim of this article is to show how the poetic diction proves to be perfectly functional in this direction, and how the author creates a sophisticated interplay between traditional elements and innovative traits. The final section discusses the reception of the Homeric passage in Giovanni Pascoli's poem Il Ritorno, which was included in the second edition of Odi e Inni (1907).
S. Bigliazzi, F. Lupi, G. Ugolini (eds.), Συναγωνίζεσθαι. Studies in Honour of Guido Avezzù, 2018
The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity Coll... more The copy of D.S. Margoliouth’s edition of Aeschylus’ Agamemnon (London 1884) held at Trinity College Library, Cambridge, and owned by Alfred E. Housman, preserves marginal annotations by the owner, among which some hitherto unpublished conjectures. These proposals contribute to our understanding of Housman’s approach to Aeschylean philology and are published and discussed here for the first time.
The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic... more The purpose of this article is to discuss and reevaluate the nature of the fragment of a dramatic dialogue preserved by P. Oxy. XXVI 2746 (TrGF adesp. 649), in which Cassandra describes to Priam, Deiphobus and a chorus the duel between Hektor and Achilles. It aims to call attention to some features of the text which may be considered firm evidence that this is a fragment of a play specially designed for theatrical performance. It also discusses again the thorny problems that have arisen on account of the unusual layout of the manuscript.
À quoi ressemblait le théâtre d’Athènes au Ve siècle av. J.-C. ? Quelles possibilités de jeu offr... more À quoi ressemblait le théâtre d’Athènes au Ve siècle av. J.-C. ? Quelles possibilités de jeu offrait-il pour la mise en scène des tragédies grecques ? Comment le chœur et les personnages incarnaient-ils dans cet espace – par la voix, le geste, le chant, la danse – les drames représentés lors des Grandes Dionysies ? Est-il possible, et jusqu’à quel point, de reconstituer la mise en scène originelle des tragédies d’Eschyle, Sophocle et Euripide ?
Voilà quelques-unes des questions auxquelles répond, de façon claire, précise et solidement documentée, l’ouvrage de Vincenzo Di Benedetto et Enrico Medda, La tragedia sulla scena (1re édition 1997), dont Christine Mauduit propose ici une traduction française. Destiné à tous ceux qui s’intéressent à la tragédie grecque – amateurs ou spécialistes, étudiants, enseignants, gens de théâtre – ce livre est une introduction fascinante à tous les aspects du spectacle tragique. Il éclaire, autant que la documentation le permet, les usages de la scène et les modèles formels propres à la tragédie, et tente ainsi de restituer des aspects essentiels de l’expérience théâtrale antique, faite d’un rapport immédiat et vivant avec les œuvres dramatiques, dans le cadre des grandes fêtes en l’honneur de Dionysos. Il offre aussi matière à réfléchir à la place de la tragédie grecque dans la culture de la cité et ouvre des perspectives sur la catégorie du tragique en tant qu’expérience fondamentale de l’homme.
TABLE DES MATIÈRES
Préface à la traduction française
Avant-propos
Liste des principales abréviations
Première partie. Espace et mise en scène
Chapitre 1 – L’espace scénique et les éléments de base de la mise en scène
1. Les Grandes Dionysies
2. Le théâtre
3. L’orchestra
4. Les eisodoi
5. Structures surélevées
6. Tragédies avec et sans skēnē
7. La scénographie
8. Le theologeion
9. Autres équipements
10. La « machine »
11. Le problème de l’ekkuklēma
Notes et discussions
Chapitre 2 – Les espaces non visibles : l’espace extrascénique
1. Indications générales
2. L’espace extrascénique lointain
3. L’espace extrascénique adjacent
Notes et discussions
Chapitre 3 – Les espaces non visibles : l’espace rétroscénique
1. Indications générales
2. Description de l’espace interne par un personnage du drame
3. La communication directe entre intérieur et extérieur : le personnage qui entend de l’intérieur
4. La communication directe entre intérieur et extérieur : la perception de bruits venant de l’intérieur
5. La communication directe entre intérieur et extérieur : la révélation visuelle de l’espace rétroscénique
Notes et discussions
Chapitre 4 – Personnages à différents niveaux de hauteur
Chapitre 5 – La mise en scène des tragédies d’Eschyle
1. Les Perses
2. Les Sept contre Thèbes
3. Les Suppliantes
4. Prométhée enchaîné
5. L’Orestie
6. Autres tragédies
Notes et discussions
Chapitre 6 – La mise en scène des tragédies de Sophocle
1. Antigone
2. Ajax
3. Œdipe roi
4. Électre
5. Les Trachiniennes
6. Philoctète
7. Œdipe à Colone
8. Autres tragédies
Notes et discussions
Chapitre 7 – La mise en scène des tragédies d’Euripide
1. Alceste
2. Médée
3. Les Héraclides
4. Hippolyte
5. Andromaque
6. Hécube
7. Les Suppliantes
8. Héraclès
9. Électre
10. Les Troyennes
11. Iphigénie en Tauride
12. Hélène
13. Ion
14. Les Phéniciennes
15. Oreste
16. Les Bacchantes
17. Iphigénie à Aulis
18. Autres tragédies
19. Rhésos
Notes et discussions
Deuxième partie. Acteurs, chœur et personnages
Chapitre 1 – Les parties constitutives des tragédies grecques
1. Continuité de la représentation et articulation de la tragédie
2. Aristote et les parties de la tragédie
Notes et discussions
Chapitre 2 – Les acteurs
1. La naissance de l’acteur
2. Le masque
3. Le costume
4. Modes de diction et voix des acteurs
5. Mouvements et jeux de scène
6. Autres gestes
Notes et discussions
Chapitre 3 – Personnages et acteurs
1. La règle des trois acteurs
2. Personnages muets et figurants
3. La distribution des rôles
Notes et discussions
Chapitre 4 – Le chœur en scène
1. Mouvement d’arrivée et danse
2. La présence du chœur dans l’espace scénique
3. La composition du chœur
4. La division en demi-chœurs et l’introduction de chœurs secondaires
Notes et discussions
Chapitre 5 – Chœur et acteur
1. Chœur et tragédie
2. Le chœur et l’action tragique
3. Typologie du rapport chœur/personnages
4. Interventions directes dans l’action, avec gestes et jeux de scène
5. Conseils et tentatives de dissuasion
Notes et discussions
Chapitre 6 – Le chœur : les fonctions expressives
1. Le chœur et l’élargissement du cadre de l’action
2. La lamentation
3. La peur et l’attente
4. La prière
5. Moments de joie
6. Approfondissements conceptuels
7. Rappels mythologiques
Notes et discussions
Chapitre 7 – Le cadavre sur la scène
1. La tragédie et la mort : le rôle scénique du cadavre
2. La mort dans l’espace extrascénique et le cadavre apporté sur la scène
3. La mort dans l’espace rétroscénique et l’exhibition du cadavre
4. La mort sur scène
5. L’« absence » du cadavre
6. La mort dans le temps extradramatique
7. Tragédies sans cadavres
Notes et discussion
Chapitre 8 – Les unités de temps et de lieu
Notes et discussions
Troisième partie. La tragédie grecque et son public
Chapitre 1 – La fonction socialement stabilisatrice du spectacle tragique
Notes et discussions
Chapitre 2 – Tragédie grecque et anthropologie
Chapitre 3 – La tendance à se dissocier du politique
1. L’Orestie d’Eschyle : entre réalité démonique et message politique
2. Quelques brèves considérations sur Sophocle
3. Euripide : une ligne de développement
Notes et discussions
Chapitre 4 – La réticence de la tragédie à délivrer un discours d’ordre éthique
1. La souffrance sans culpabilité
2. La réflexion gnomique finale
3. Le point de vue d’Aristote
Notes et discussions
Chapitre 5 – Remarques sur la nature du tragique
1. L’ambiguïté : une catégorie déviante
2. La cellule divisée
3. Tragédie et conscience
Notes et discussions
Chapitre 6 – Le tragique de la connaissance
1. Le passage de l’ignorance à la connaissance
2. Le personnage qui se rend compte et qui se repent
3. De la folie au recouvrement des facultés mentales
4. Le personnage se rend compte qu’il a été joué
5. Le caractère provisoire du moment de l’inconscience
Notes et discussions
Appendice bibliographique
Ouvrages de caractère général sur la tragédie et sur la vie théâtrale athénienne
Sources littéraires et iconographiques
Architecture théâtrale
Espace dramatique et performance
Machines de théâtre
Masques et costumes
Scénographie et objets scéniques
Acteurs
Chœur
Index des principaux sujets traités
Index des noms propres
Si tratta della traduzione/adattamento preparata per la messa in scena delle Fenicie diretta da V... more Si tratta della traduzione/adattamento preparata per la messa in scena delle Fenicie diretta da Valerio Binasco in occasione del 53° ciclo di Rappresentazioni Classiche dell'INDA, nel Teatro Antico di Siracusa (maggio-giugno 2017)
Introduzione - Abbreviazioni e sigle
Capitolo I
Il pianto dell’attore tragico
Capitolo II
... more Introduzione - Abbreviazioni e sigle
Capitolo I
Il pianto dell’attore tragico
Capitolo II
Spazio scenico e conflitto tragico nell’Aiace di Sofocle
Capitolo III
Il vuoto della vendetta: l’Elettra di Sofocle
Capitolo IV
La casa di Elettra. Strategie degli spazi e costruzione del personaggio nelle due Elettre
Capitolo V
La casa e la città: spazio scenico e spazio drammatico nell’Oreste di Euripide
Capitolo VI
Fare teatro in un’epoca di crisi (I). L’Oreste di Euripide
Capitolo VII
‘Abbandonare’ o ‘svenire’? A proposito di Euripide, Oreste 304
Capitolo VIII
Il coro straniato. Considerazioni sulla voce corale nelle Fenicie di Euripide
Capitolo IX
Fare teatro in un’epoca di crisi (II). La nuova drammaturgia delle Fenicie
Capitolo X
Drammaturgia e critica del testo (I). Testo e scena in Aesch.
Ag. 1649-1654
Capitolo XI
Drammaturgia e critica del testo (II). Il caso delle Fenicie
Capitolo XII
Il monologo di Cresfonte e una parodia aristofanea recuperata
(Eur. fr. 448a, 83-109 K., Alc. 840, Ar. Ach. 480-488)
Capitolo XIII
L’eroe alla porta. Osservazioni su una tipologia del monologo tragico
Capitolo XIV
Aristofane e il monologo
Capitolo XV
Aristofane e un inno a rovescio: la potenza di Pluto in Pl. 124-221
Capitolo XVI
Rappresentare l’arcaico: Pasolini ed Eschilo negli Appunti
per un’ Orestiade Africana
Bibliografia
Indice dei luoghi citati
Indice dei nomi
Indice dei termini e degli argomenti notevoli
Introduzione. Capitolo 1. Metrica e testo (1796-1799). Capitolo 2. Un quindicennio di studi esch... more Introduzione. Capitolo 1. Metrica e testo (1796-1799). Capitolo 2. Un quindicennio di studi eschilei (1800-1815). Capitolo 3. 1816: annus mirabilis. Capitolo 4. Verso l’edizione (18171848). Capitolo 5. De re scenica. Capitolo 6. Aeschyli Tragoediae. Conclusione. Appendice: Le congetture di Gottfried Hermann all’ Agamennone di Eschilo.
Foto notturne scattate sulle vette delle Apuane dai quattro autori nelle notti di plenilunio, in ... more Foto notturne scattate sulle vette delle Apuane dai quattro autori nelle notti di plenilunio, in tutte le stagioni dell'anno, e accompagnate da frammenti poetici di vari autori.
Aeschylus’ Agamemnon Catalogue is a database containing the critical bibliography of Aeschylus’ A... more Aeschylus’ Agamemnon Catalogue is a database containing the critical bibliography of Aeschylus’ Agamemnon starting from Aldus’ 1518 editio princeps, here organized by categories. Through an easy-to-use search engine, searches can be performed on more than 2600 items and about 600 active hyperlinks to the full text of referenced books or articles available online using various parameters: author, title, year, journal/collection, keywords (Cassandra scene, commentary, death of Agamemnon, edition, exodos, first episode, first stasimon, fourth stasimon, fourth episode, fifth episode, history of classical scholarship, history of the text, interpretation, language, metrics, parodos, performance, prologue, reception, religion, second episode, second stasimon, style, textual criticism, third episode, third stasimon, translation). Results can be exported in BibTex or EndNote format, or simply copied and pasted in a Word file.
Compared to general purpose bibliographic search engine, Aeschylus’ Agamemnon catalogue provides a high precision and a high recall on the specific aeschylean topic.
The Rhesus Attributed to Euripides. (Cambridge Classical Texts and Commentaries 63.) Pp. viii + 7... more The Rhesus Attributed to Euripides. (Cambridge Classical Texts and Commentaries 63.) Pp. viii + 711. Cambridge: Cambridge University Press, 2020. Cased, £130, US$170.
Review of Milagros Quijada Sagredo – Maria Carmen Encinas Reguero (eds.), Connecting Rhetoric and... more Review of Milagros Quijada Sagredo – Maria Carmen Encinas Reguero (eds.), Connecting Rhetoric and Attic Drama, (“Le Rane”, Studi 66), Bari, Levante Editore, 2017
whereas they appear in a majority of Euripides' surviving plays and are frequently given a voice.... more whereas they appear in a majority of Euripides' surviving plays and are frequently given a voice. I do not, however, understand D.'s suggestion in his fi nal sentence that the child in tragedy somehow represents 'Dionysos l'enfant-dieu'.
The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of p... more The character of Clytemnestra in Aeschylus’s Agamemnon is a perfect example of the relevance of persuasion and manipulation in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés, manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice. Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon, in order to escape the hostility of the daimon itself.
Uploads
Papers by Enrico Medda
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful
or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and
female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés,
manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that
he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also
shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice.
Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon,
in order to escape the hostility of the daimon itself.
the ancient myth of the Atreidae, which becomes an occasion for bitter reflections on political
oppression and violence. It is at the same time a Bildungsroman of Orestes, whose
childhood is protected against the violence of his mother and Aegisthus by his stay, together
with two young friends, Leander and Mitros, in a totally isolated place, a house
without time where ancient myths are still alive in the narrations of an old woman. This
essay deals with Tóibín’s complex relationship with his ancient sources, that are sometimes
directly referred to, while in other occasion they are freely manipulated with the
introduction of new characters and a substantial redefinition of traditional ones, such
as Iphigenia, Cytemnestra, Orestes, Electra and Aegisthus.
pervasive blending and overlapping of different linguistic registers, is represented by
the reprise and refunctionalisation of the boast of epic warriors on the lying body of
a defeated enemy. This paper analyses how the topoi of Homeric boast are applied by
Aeschylus to characters who, in different ways, either come into conflict with the epic
model (Clytemnestra, Aegisthus, Orestes) or are not up for it because of a disastrous
unawareness of the real situation (Agamemnon). This allows the poet to cast light on
essential nuances of his new dramatic construction.
in tragic theatre, a genre which, since the introduction of the second actor, allowed the representation of contrasts and successful
or unsuccessful attempts to overcome an opponent by persuasion. Through an astonishing mastery of many both male and
female language forms, Clytemnestra, switching from transgressive usages to the appropriation of traditional feminine clichés,
manages to dominate all the characters who face her in the play, and in particular Agamemnon, who is beguiled to the point that
he enters his own house in a way that could give rise to human blame and divine φθόνος. After the murder, Clytemnestra also
shows her skill in controlling different genres of male language in order to tackle the Chorus’s attempt to bring her to justice.
Eventually, the murderer cunningly presents herself as a member of the Atreid family who had been hurt by an adverse daimon,
in order to escape the hostility of the daimon itself.
Voilà quelques-unes des questions auxquelles répond, de façon claire, précise et solidement documentée, l’ouvrage de Vincenzo Di Benedetto et Enrico Medda, La tragedia sulla scena (1re édition 1997), dont Christine Mauduit propose ici une traduction française. Destiné à tous ceux qui s’intéressent à la tragédie grecque – amateurs ou spécialistes, étudiants, enseignants, gens de théâtre – ce livre est une introduction fascinante à tous les aspects du spectacle tragique. Il éclaire, autant que la documentation le permet, les usages de la scène et les modèles formels propres à la tragédie, et tente ainsi de restituer des aspects essentiels de l’expérience théâtrale antique, faite d’un rapport immédiat et vivant avec les œuvres dramatiques, dans le cadre des grandes fêtes en l’honneur de Dionysos. Il offre aussi matière à réfléchir à la place de la tragédie grecque dans la culture de la cité et ouvre des perspectives sur la catégorie du tragique en tant qu’expérience fondamentale de l’homme.
TABLE DES MATIÈRES
Préface à la traduction française
Avant-propos
Liste des principales abréviations
Première partie. Espace et mise en scène
Chapitre 1 – L’espace scénique et les éléments de base de la mise en scène
1. Les Grandes Dionysies
2. Le théâtre
3. L’orchestra
4. Les eisodoi
5. Structures surélevées
6. Tragédies avec et sans skēnē
7. La scénographie
8. Le theologeion
9. Autres équipements
10. La « machine »
11. Le problème de l’ekkuklēma
Notes et discussions
Chapitre 2 – Les espaces non visibles : l’espace extrascénique
1. Indications générales
2. L’espace extrascénique lointain
3. L’espace extrascénique adjacent
Notes et discussions
Chapitre 3 – Les espaces non visibles : l’espace rétroscénique
1. Indications générales
2. Description de l’espace interne par un personnage du drame
3. La communication directe entre intérieur et extérieur : le personnage qui entend de l’intérieur
4. La communication directe entre intérieur et extérieur : la perception de bruits venant de l’intérieur
5. La communication directe entre intérieur et extérieur : la révélation visuelle de l’espace rétroscénique
Notes et discussions
Chapitre 4 – Personnages à différents niveaux de hauteur
Chapitre 5 – La mise en scène des tragédies d’Eschyle
1. Les Perses
2. Les Sept contre Thèbes
3. Les Suppliantes
4. Prométhée enchaîné
5. L’Orestie
6. Autres tragédies
Notes et discussions
Chapitre 6 – La mise en scène des tragédies de Sophocle
1. Antigone
2. Ajax
3. Œdipe roi
4. Électre
5. Les Trachiniennes
6. Philoctète
7. Œdipe à Colone
8. Autres tragédies
Notes et discussions
Chapitre 7 – La mise en scène des tragédies d’Euripide
1. Alceste
2. Médée
3. Les Héraclides
4. Hippolyte
5. Andromaque
6. Hécube
7. Les Suppliantes
8. Héraclès
9. Électre
10. Les Troyennes
11. Iphigénie en Tauride
12. Hélène
13. Ion
14. Les Phéniciennes
15. Oreste
16. Les Bacchantes
17. Iphigénie à Aulis
18. Autres tragédies
19. Rhésos
Notes et discussions
Deuxième partie. Acteurs, chœur et personnages
Chapitre 1 – Les parties constitutives des tragédies grecques
1. Continuité de la représentation et articulation de la tragédie
2. Aristote et les parties de la tragédie
Notes et discussions
Chapitre 2 – Les acteurs
1. La naissance de l’acteur
2. Le masque
3. Le costume
4. Modes de diction et voix des acteurs
5. Mouvements et jeux de scène
6. Autres gestes
Notes et discussions
Chapitre 3 – Personnages et acteurs
1. La règle des trois acteurs
2. Personnages muets et figurants
3. La distribution des rôles
Notes et discussions
Chapitre 4 – Le chœur en scène
1. Mouvement d’arrivée et danse
2. La présence du chœur dans l’espace scénique
3. La composition du chœur
4. La division en demi-chœurs et l’introduction de chœurs secondaires
Notes et discussions
Chapitre 5 – Chœur et acteur
1. Chœur et tragédie
2. Le chœur et l’action tragique
3. Typologie du rapport chœur/personnages
4. Interventions directes dans l’action, avec gestes et jeux de scène
5. Conseils et tentatives de dissuasion
Notes et discussions
Chapitre 6 – Le chœur : les fonctions expressives
1. Le chœur et l’élargissement du cadre de l’action
2. La lamentation
3. La peur et l’attente
4. La prière
5. Moments de joie
6. Approfondissements conceptuels
7. Rappels mythologiques
Notes et discussions
Chapitre 7 – Le cadavre sur la scène
1. La tragédie et la mort : le rôle scénique du cadavre
2. La mort dans l’espace extrascénique et le cadavre apporté sur la scène
3. La mort dans l’espace rétroscénique et l’exhibition du cadavre
4. La mort sur scène
5. L’« absence » du cadavre
6. La mort dans le temps extradramatique
7. Tragédies sans cadavres
Notes et discussion
Chapitre 8 – Les unités de temps et de lieu
Notes et discussions
Troisième partie. La tragédie grecque et son public
Chapitre 1 – La fonction socialement stabilisatrice du spectacle tragique
Notes et discussions
Chapitre 2 – Tragédie grecque et anthropologie
Chapitre 3 – La tendance à se dissocier du politique
1. L’Orestie d’Eschyle : entre réalité démonique et message politique
2. Quelques brèves considérations sur Sophocle
3. Euripide : une ligne de développement
Notes et discussions
Chapitre 4 – La réticence de la tragédie à délivrer un discours d’ordre éthique
1. La souffrance sans culpabilité
2. La réflexion gnomique finale
3. Le point de vue d’Aristote
Notes et discussions
Chapitre 5 – Remarques sur la nature du tragique
1. L’ambiguïté : une catégorie déviante
2. La cellule divisée
3. Tragédie et conscience
Notes et discussions
Chapitre 6 – Le tragique de la connaissance
1. Le passage de l’ignorance à la connaissance
2. Le personnage qui se rend compte et qui se repent
3. De la folie au recouvrement des facultés mentales
4. Le personnage se rend compte qu’il a été joué
5. Le caractère provisoire du moment de l’inconscience
Notes et discussions
Appendice bibliographique
Ouvrages de caractère général sur la tragédie et sur la vie théâtrale athénienne
Sources littéraires et iconographiques
Architecture théâtrale
Espace dramatique et performance
Machines de théâtre
Masques et costumes
Scénographie et objets scéniques
Acteurs
Chœur
Index des principaux sujets traités
Index des noms propres
Capitolo I
Il pianto dell’attore tragico
Capitolo II
Spazio scenico e conflitto tragico nell’Aiace di Sofocle
Capitolo III
Il vuoto della vendetta: l’Elettra di Sofocle
Capitolo IV
La casa di Elettra. Strategie degli spazi e costruzione del personaggio nelle due Elettre
Capitolo V
La casa e la città: spazio scenico e spazio drammatico nell’Oreste di Euripide
Capitolo VI
Fare teatro in un’epoca di crisi (I). L’Oreste di Euripide
Capitolo VII
‘Abbandonare’ o ‘svenire’? A proposito di Euripide, Oreste 304
Capitolo VIII
Il coro straniato. Considerazioni sulla voce corale nelle Fenicie di Euripide
Capitolo IX
Fare teatro in un’epoca di crisi (II). La nuova drammaturgia delle Fenicie
Capitolo X
Drammaturgia e critica del testo (I). Testo e scena in Aesch.
Ag. 1649-1654
Capitolo XI
Drammaturgia e critica del testo (II). Il caso delle Fenicie
Capitolo XII
Il monologo di Cresfonte e una parodia aristofanea recuperata
(Eur. fr. 448a, 83-109 K., Alc. 840, Ar. Ach. 480-488)
Capitolo XIII
L’eroe alla porta. Osservazioni su una tipologia del monologo tragico
Capitolo XIV
Aristofane e il monologo
Capitolo XV
Aristofane e un inno a rovescio: la potenza di Pluto in Pl. 124-221
Capitolo XVI
Rappresentare l’arcaico: Pasolini ed Eschilo negli Appunti
per un’ Orestiade Africana
Bibliografia
Indice dei luoghi citati
Indice dei nomi
Indice dei termini e degli argomenti notevoli
Compared to general purpose bibliographic search engine, Aeschylus’ Agamemnon catalogue provides a high precision and a high recall on the specific aeschylean topic.