This book answers the question 'How did Athenian drama shape ideas about civic identity?' through the medium of three case studies focusing on props. Traditional responses to the question have overlooked the significance of props which were symbolically implicated in Athenian ideology, yet the key objects explored in this study (voting urns and pebbles, swords, and masks) each carried profound connections to Athenian civic identity while also playing important roles as props on the fifth-century stage. Playwrights exploited the powerful dynamic generated from the intersection between the ‘social lives’ (off-stage existence in society) and ‘stage lives’ (handling in theatre) of these objects to enhance the dramatic effect of their plays as well as the impact of these performances on society. The exploration of the ‘stage lives’ of these objects across comedy, tragedy, and satyr drama reveals much about generic interdependence and distinction. Meanwhile the consideration of iconography representing the objects’ lives outside the theatre sheds light on drama’s powerful interplay with art. Essential reading for scholars and students of ancient Greek history, culture, and drama, the innovative approach and insightful analysis contained in this volume will also be of interest to researchers in the fields of Theatre Studies, Art History, and Cultural Studies.

This is the first study of ancient theatre and performance around the coasts of the Black Sea. It brings together key specialists around the region with well-established international scholars on theatre and the Black Sea, from a wide range of disciplines, especially archaeology, drama and history. In that way the wealth of material found around these great coasts is brought together with the best methodology in all fields of study. This landmark book broadens the whole concept and range of theatre outside Athens. It shows ways in which the colonial world of the Black Sea may be compared importantly with Southern Italy and Sicily in terms of theatre and performance. At the same time, it shows too how the Black Sea world itself can be better understood through a focus on the development of theatre and performance there, both among Greeks and among their local neighbours.

This is the first book-length survey of tragic costume to be published for over forty years. The core of the book focuses on tragic costume in its original performance context of fifth-century Athens, but the implications of subsequent uses in Roman and more recent performances are also taken into consideration. Most importantly, the reader is invited to think about how tragic costume worked as a language in ancient performance and was manipulated physically and verbally in order to create meaning. Elements of this language are shown through a series of test cases from a range of ancient tragedies. All ancient passages are given in translation and the bookincludes a glossary of terms.

This book answers the question 'How did Athenian drama shape ideas about civic identity?' through the medium of three case studies focusing on props. Traditional responses to the question have overlooked the significance of props which were symbolically implicated in Athenian ideology, yet the key objects explored in this study (voting urns and pebbles, swords, and masks) each carried profound connections to Athenian civic identity while also playing important roles as props on the fifth-century stage. Playwrights exploited the powerful dynamic generated from the intersection between the ‘social lives’ (off-stage existence in society) and ‘stage lives’ (handling in theatre) of these objects to enhance the dramatic effect of their plays as well as the impact of these performances on society. The exploration of the ‘stage lives’ of these objects across comedy, tragedy, and satyr drama reveals much about generic interdependence and distinction. Meanwhile the consideration of iconography representing the objects’ lives outside the theatre sheds light on drama’s powerful interplay with art. Essential reading for scholars and students of ancient Greek history, culture, and drama, the innovative approach and insightful analysis contained in this volume will also be of interest to researchers in the fields of Theatre Studies, Art History, and Cultural Studies.

Women Classical Scholars: Unsealing the Fountain from the Renaissance to Jacqueline de Romilly is the first written history of the pioneering women born between the Renaissance and 1913 who played significant roles in the history of classical scholarship. Facing seemingly insurmountable obstacles from patriarchal social systems and educational institutions - from learning Latin and Greek as a marginalized minority, to being excluded from institutional support, denigrated for being lightweight or over-ambitious, and working in the shadows of husbands, fathers, and brothers - they nevertheless continued to teach, edit, translate, analyse, and elucidate the texts left to us by the ancient Greeks and Romans. In this volume twenty essays by international leaders in the field chronicle the lives of women from around the globe who have shaped the discipline over more than five hundred years. Arranged in broadly chronological order from the Italian, Iberian, and Portuguese Renaissance through to the Stalinist Soviet Union and occupied France, they synthesize illuminating overviews of the evolution of classical scholarship with incisive case-studies into often overlooked key figures: some, like Madame Anne Dacier, were already famous in their home countries but have been neglected in previous, male-centred accounts, while others have been almost completely lost to the mainstream cultural memory. This book identifies and celebrates them - their frustrations, achievements, and lasting records; in so doing it provides the classical scholars of today, regardless of gender, with the female intellectual ancestors they did not know they had.