Real - Abstract - Imaginary: Theatre and Performance in Antiquity

The subject of the project are the performance techniques and the performance practice of ancient Greek theatre. Selected dramas and texts will be investigated - given the general lack of stage- and scenic instructions in antiquity - to find out how realistically and true to life and/or abstract and imaginary certain scenes probably were played by the actors. On the other hand, the focus of the close reading will be laid on the means of artistic expression of the characters and the chorus (gestures, mimicry, physical expression, emotional style of performance, etc.) as well as on the supporting facilities of the ancient theatre production (stage, costumes, props, etc.). Undoubtedly there were moments and actions solely communicated by means of language and directed towards the auditorium, whereas other scenes where presented more objectively, in an almost naturalistic way. In the course of the study, not only philological methodology but also the methods related to artistic production and the aesthetics of a play and corresponding thought structures will be applied. A continuous proximity to ancient texts and to the stage form certainly is an essential prerequisite for this. Alongside written sources, supplementary iconographical as well as archaeological materials will be incorporated. The actual method of investigation used will be that of the interpretation of individual passages viewed by a close reading of the texts and examinated by the practical experience of an actor and stage director. This method provides the opportunity to be guided by elements and maybe hidden correlations in poetic language, and to evaluate conclusions which have been drawn on the basis of the interpretation. Compared to other possible categories of research which would be based mainly on the verification of conceived theories, this method is better suited to the task because of its impartiality.

The subject of the project is the performance techniques and the performance practice of ancient Greek tragedy (Aeschylus, Sophocles, Euripides). Selected dramas and texts have been investigated given the general lack of stage- and scenic-instructions in antiquity to find out how realistically and true to life and/or abstract and imaginary certain scenes probably were played by the actors. On the other hand, the focus of the close reading has been laid on the means of artistic expression of the characters and the chorus (gestures, mimicry, physical expression, emotional style of performance, etc.) as well as on the supporting facilities of the ancient theatre production (stage, costumes, props, etc.). Undoubtedly there were moments and actions solely communicated by means of language and directed towards the auditorium, whereas other scenes where presented in an almost naturalistic way. In the course of the study, not only philological methodology but also the methods related to artistic production and the aesthetics of a play and corresponding thought structures have been applied. A continuous proximity to ancient texts and to the stage form certainly is an essential prerequisite. Alongside written sources, supplementary iconographical as well as archaeological material widely has been incorporated. The actual method of investigation is that of the interpretation of individual passages viewed by a close reading of the texts and examinated by the practical experience of an actor and stage director. This method provides the opportunity to be guided by elements and maybe hidden correlations in poetic language, and to evaluate conclusions which have been drawn on the basis of the interpretation. Compared to other possible categories of research, this method is better suited to the task because of its impartiality.