Startseite Altertumswissenschaften & Ägyptologie Tür, Bühnenkran, Ekkyklema: Zu Aristophanes’ Technik der Evokation des Imaginativen
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Tür, Bühnenkran, Ekkyklema: Zu Aristophanes’ Technik der Evokation des Imaginativen

  • Wolfgang Ehrhardt
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Playing in the Sun: Ancient Theatre Between Disciplines
Ein Kapitel aus dem Buch Playing in the Sun: Ancient Theatre Between Disciplines

Abstract

This paper aims to examine the use and function of the technical means of stage door, stage crane and ‘Ekkyklema’ in Aristophanes’ comedy on the basis of several examples. I intend to show that verbal references to the door, crane and “being wheeled out” mark intersections between real stage events and three semantic levels of spoken word and visible stage action and objects: a change of scene within the imaginative, dramatic and fictional world of the play, a change of scene from the dramatic to the extra-dramatic, social and political world, and a change of scene to the comedy writer’s technique. Aristophanes explains his own technique with stage directions that interrupt the action of the play, showing it on stage, the technique of calling up ideas, their new composition and integration into new and different contexts, and the use of the audible word, costumes, props and stage technology to evoke the imaginative. The stage directions in the play are ‘directions for imagination’ for the audience to understand where there is a change of scene or semantic level in the action on stage.

Abstract

This paper aims to examine the use and function of the technical means of stage door, stage crane and ‘Ekkyklema’ in Aristophanes’ comedy on the basis of several examples. I intend to show that verbal references to the door, crane and “being wheeled out” mark intersections between real stage events and three semantic levels of spoken word and visible stage action and objects: a change of scene within the imaginative, dramatic and fictional world of the play, a change of scene from the dramatic to the extra-dramatic, social and political world, and a change of scene to the comedy writer’s technique. Aristophanes explains his own technique with stage directions that interrupt the action of the play, showing it on stage, the technique of calling up ideas, their new composition and integration into new and different contexts, and the use of the audible word, costumes, props and stage technology to evoke the imaginative. The stage directions in the play are ‘directions for imagination’ for the audience to understand where there is a change of scene or semantic level in the action on stage.

Kapitel in diesem Buch

  1. Frontmatter I
  2. Preface V
  3. Contents VII
  4. List of Illustrations XI
  5. Introduction XII
  6. Part I: Dramatic Texts: Form, Music, Narrative
  7. Bacchylides’ Ode 5 and Sophocles’ Trachiniae: Lyric Poetry and Tragedy 3
  8. On Misunderstanding Apollo: The Oracle and Its Consequences in Soph. O.R. 13
  9. “And They Lived Happily Ever After”? A Tentative Taxonomy of (More or Less) Happy Endings in Euripides 21
  10. Fantastic Beasts and How to Use Them: Animal Characters and Choruses in Old Comedy 45
  11. Juxtaposing and Contrasting Modes of Speech Presentation in Aristophanes’ Knights 624–690: Narrative Techniques, Performance, and Plot 81
  12. A ‘Metic’ Prometheus in Aristophanes’ Birds 101
  13. Ein neues Fragment des Komödiendichters Aristomenes 121
  14. “Is Your Roof Leaking Anywhere?” Euripides’ Danae Transformed Into Menander’s Samia 137
  15. Osservazioni sull’uso delle soluzioni anapestiche nei trimetri giambici di Filemone 147
  16. Part II: Theatre, Society, Perception
  17. The Audience in the Time of the Athenian Theatrocracy 171
  18. Tür, Bühnenkran, Ekkyklema: Zu Aristophanes’ Technik der Evokation des Imaginativen 199
  19. Remarks on the Ancient Theatre in Aegina 219
  20. Dikaiopolis’ Spatiotemporal Coordinates in Aristophanes’ Acharnians 235
  21. Spielen und Tanzen für die Demokratie. Zur politischen Funktion des Theaters in den „Fröschen“ des Aristophanes 257
  22. On Comedy, Football and (Once Again) the Impact of Theatre on Spectators’ Reactions 287
  23. Clio Smiles: Greek Comedy As and For Historiography 307
  24. Meditation und Panegyrik in Brixen: Joseph Reschs Pastor bonus (1748) 321
  25. “I Had a Little Nut-Tree” 338
  26. Part III: Dramatic Texts and Theatre Through the Eyes of Ancient Scholars
  27. Un teatro per l’impero. Le citazioni drammatiche in Plinio il Vecchio e Svetonio 347
  28. Julius Pollux on the Theatre (4.99–154) 371
  29. Taking it on Trust?: Euripides and the Epistemological Tradition 389
  30. Scholars on Comedians on Lyric Poets: Ar. Nub. 967 from Stesichorus to Didymus 407
  31. Citazioni di Eschilo negli scholia all’Iliade 431
  32. Where Narrative Meets Drama: argumentum as a Term for (Realistic) Fiction 439
  33. Poetae comici satyrographi. Euanthius’ griechische Komödiengeschichte in bikulturellem Kontext 455
  34. List of Contributors 473
  35. General Index
  36. Index of Passages
https://doi.org/10.1515/9783111594804-011

Kapitel in diesem Buch

  1. Frontmatter I
  2. Preface V
  3. Contents VII
  4. List of Illustrations XI
  5. Introduction XII
  6. Part I: Dramatic Texts: Form, Music, Narrative
  7. Bacchylides’ Ode 5 and Sophocles’ Trachiniae: Lyric Poetry and Tragedy 3
  8. On Misunderstanding Apollo: The Oracle and Its Consequences in Soph. O.R. 13
  9. “And They Lived Happily Ever After”? A Tentative Taxonomy of (More or Less) Happy Endings in Euripides 21
  10. Fantastic Beasts and How to Use Them: Animal Characters and Choruses in Old Comedy 45
  11. Juxtaposing and Contrasting Modes of Speech Presentation in Aristophanes’ Knights 624–690: Narrative Techniques, Performance, and Plot 81
  12. A ‘Metic’ Prometheus in Aristophanes’ Birds 101
  13. Ein neues Fragment des Komödiendichters Aristomenes 121
  14. “Is Your Roof Leaking Anywhere?” Euripides’ Danae Transformed Into Menander’s Samia 137
  15. Osservazioni sull’uso delle soluzioni anapestiche nei trimetri giambici di Filemone 147
  16. Part II: Theatre, Society, Perception
  17. The Audience in the Time of the Athenian Theatrocracy 171
  18. Tür, Bühnenkran, Ekkyklema: Zu Aristophanes’ Technik der Evokation des Imaginativen 199
  19. Remarks on the Ancient Theatre in Aegina 219
  20. Dikaiopolis’ Spatiotemporal Coordinates in Aristophanes’ Acharnians 235
  21. Spielen und Tanzen für die Demokratie. Zur politischen Funktion des Theaters in den „Fröschen“ des Aristophanes 257
  22. On Comedy, Football and (Once Again) the Impact of Theatre on Spectators’ Reactions 287
  23. Clio Smiles: Greek Comedy As and For Historiography 307
  24. Meditation und Panegyrik in Brixen: Joseph Reschs Pastor bonus (1748) 321
  25. “I Had a Little Nut-Tree” 338
  26. Part III: Dramatic Texts and Theatre Through the Eyes of Ancient Scholars
  27. Un teatro per l’impero. Le citazioni drammatiche in Plinio il Vecchio e Svetonio 347
  28. Julius Pollux on the Theatre (4.99–154) 371
  29. Taking it on Trust?: Euripides and the Epistemological Tradition 389
  30. Scholars on Comedians on Lyric Poets: Ar. Nub. 967 from Stesichorus to Didymus 407
  31. Citazioni di Eschilo negli scholia all’Iliade 431
  32. Where Narrative Meets Drama: argumentum as a Term for (Realistic) Fiction 439
  33. Poetae comici satyrographi. Euanthius’ griechische Komödiengeschichte in bikulturellem Kontext 455
  34. List of Contributors 473
  35. General Index
  36. Index of Passages
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Heruntergeladen am 8.1.2026 von https://www.degruyterbrill.com/document/doi/10.1515/9783111594804-011/html
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