Thiasos und Theater. Dionysische Wesen, Schauspieler und Theaterbilder im römischen Haus
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Ralf Krumeich
Abstract
From the late Republican period onwards, Roman villas and houses were decorated with Dionysian figures as well as theatrical images in the form of paintings and mosaics. As novel monuments, statues of actors were added that shared the same reduced format as the Dionysian figures in the same context. Once again, this reveals the extent to which the taste of Roman patrons of the Late Republic and Early Imperial period was determined by Hellenized tendencies. In addition to an intensive adaptation of traditional Greek iconographical conventions (mythical satyrs and silens appear with theatrical props), there is an explicit reference to the Greek or rather Athenian theater of the Classical period. Remarkable is the combination of considerably smaller than life-size genre figures and actor statues with portraits of important Greeks (imagines illustrium) in a similarly reduced size. In this way, the reference to Greek culture was occasionally closely linked to the ecstatic and sacral world of Dionysus.
Abstract
From the late Republican period onwards, Roman villas and houses were decorated with Dionysian figures as well as theatrical images in the form of paintings and mosaics. As novel monuments, statues of actors were added that shared the same reduced format as the Dionysian figures in the same context. Once again, this reveals the extent to which the taste of Roman patrons of the Late Republic and Early Imperial period was determined by Hellenized tendencies. In addition to an intensive adaptation of traditional Greek iconographical conventions (mythical satyrs and silens appear with theatrical props), there is an explicit reference to the Greek or rather Athenian theater of the Classical period. Remarkable is the combination of considerably smaller than life-size genre figures and actor statues with portraits of important Greeks (imagines illustrium) in a similarly reduced size. In this way, the reference to Greek culture was occasionally closely linked to the ecstatic and sacral world of Dionysus.
Kapitel in diesem Buch
- Frontmatter I
- Inhalt V
- Vorwort VII
- Komödien-Bilder im italischen Hauskontext: Eine Potential-Evaluierung 1
- A Favourite Slave from Menander 25
- Dramatis personae. Zur Funktion bronzener Schauspielerstatuetten in hellenistisch-römischer Zeit 59
- Thiasos und Theater. Dionysische Wesen, Schauspieler und Theaterbilder im römischen Haus 81
- Persona und Trauer Eine Anmerkung zur Verwendung von Masken in der römischen Sepulkralkunst 117
- Getrennte Welten. Zur Grenze zwischen Vorderszene und Hinterszene in der römischen Komödie (am Beispiel der Mostellaria) 127
- Hercules Oetaeus – Eine anonym überlieferte Tragödie aus Roms Kaiserzeit 151
- Alleinherrschaft und die Ohnmacht der Sprache. Tacitus’ Dialogus de oratoribus als historiographisches Theater 177
- Schlagwortregister (Auswahl)
Kapitel in diesem Buch
- Frontmatter I
- Inhalt V
- Vorwort VII
- Komödien-Bilder im italischen Hauskontext: Eine Potential-Evaluierung 1
- A Favourite Slave from Menander 25
- Dramatis personae. Zur Funktion bronzener Schauspielerstatuetten in hellenistisch-römischer Zeit 59
- Thiasos und Theater. Dionysische Wesen, Schauspieler und Theaterbilder im römischen Haus 81
- Persona und Trauer Eine Anmerkung zur Verwendung von Masken in der römischen Sepulkralkunst 117
- Getrennte Welten. Zur Grenze zwischen Vorderszene und Hinterszene in der römischen Komödie (am Beispiel der Mostellaria) 127
- Hercules Oetaeus – Eine anonym überlieferte Tragödie aus Roms Kaiserzeit 151
- Alleinherrschaft und die Ohnmacht der Sprache. Tacitus’ Dialogus de oratoribus als historiographisches Theater 177
- Schlagwortregister (Auswahl)
