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Studies of ancient theater have traditionally taken Athens as their
creative center. In this book, however, the lens is widened to
examine the origins and development of ancient drama, and
particularly comedy, within a Sicilian and southern Italian
context. Each chapter explores a different category of theatrical
evidence, from the literary (fragments of Epicharmus and cult
traditions) to the artistic (phylax vases) and the archaeological
(theater buildings). Kathryn G. Bosher argues that, unlike in
classical Athens, the golden days of theatrical production on
Sicily coincided with the rule of tyrants, rather than with
democratic interludes. Moreover, this was not accidental, but plays
and the theater were an integral part of the tyrants' propaganda
system. The volume will appeal widely to classicists and to theater
historians.
Studies of ancient theater have traditionally taken Athens as their
creative center. In this book, however, the lens is widened to
examine the origins and development of ancient drama, and
particularly comedy, within a Sicilian and southern Italian
context. Each chapter explores a different category of theatrical
evidence, from the literary (fragments of Epicharmus and cult
traditions) to the artistic (phylax vases) and the archaeological
(theater buildings). Kathryn G. Bosher argues that, unlike in
classical Athens, the golden days of theatrical production on
Sicily coincided with the rule of tyrants, rather than with
democratic interludes. Moreover, this was not accidental, but plays
and the theater were an integral part of the tyrants' propaganda
system. The volume will appeal widely to classicists and to theater
historians.
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