By Karen Bassi

"Greek drama calls for a narrative of origins," writes Karen Bassi in Acting Like Men. leaving behind the hunt for ritual and local origins of Greek drama, Bassi argues for a extra secular and not more formalist method of the emergence of theater in old Greece. Bassi takes a extensive view of Greek drama as a cultural phenomenon, and she or he discusses a wide selection of texts and artifacts that come with epic poetry, ancient narrative, philosophical treatises, visible media, and the dramatic texts themselves.
In her dialogue of theaterlike practices and studies, Bassi proposes new conceptual different types for figuring out Greek drama as a cultural establishment, viewing theatrical functionality as a part of what Foucault has known as a discursive formation. Bassi additionally presents an immense new research of gender in Greek tradition at huge and in Athenian civic ideology specifically, the place spectatorship on the civic theater used to be a distinguishing function of citizenship, and the place citizenship used to be denied women.
Acting Like Men contains unique discussions of message-sending as a kind of scripted speech within the Iliad, of conceal and the theatrical physique of Odysseus within the Odyssey, of tyranny as a theaterlike phenomenon within the narratives of Herodotus, and of Dionysus because the tyrannical and effeminate god of the theater in Euripides' Bacchae and Aristophanes' Frogs. Bassi concludes that the validity of an idealized masculine id in Greek and Athenian tradition is extremely contested within the theater, where--in principle--citizens develop into passive spectators. Thereafter the writer considers Athenian theater and Athenian democracy as collectively reinforcing mimetic regimes.
Acting Like Men will curiosity these drawn to the historical past of the theater, functionality idea, gender and cultural experiences, and feminist ways to old texts.
Karen Bassi is affiliate Professor of Classics, collage of California, Santa Cruz.

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Additional resources for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece

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21-22. She offers a succinct reading of Freud's use of the Oedipus plot in The Interpretation of Dreams: "He attributes universality to the very thing that is alleged to grant universality to his own views" (21). 36. On Aristotle's statement at Poetics 1448blO-12, that mimesis affords pleasure in what ought to give pain, see chap. 5. Obviously actual spectators could refuse to look at Oedipus on stage; my point depends on the principle that, by definition, spectators are in the theater to watch.

First, I want to consider why Aristotle's definition of tragedy as an "imitation of an action" is disengaged from what is arguably tragedy's most distinctive formal feature, namely, the visual enactment. 22 In the following discussion I consider three related questions: How can the proper effect of tragedy (catharsis) be achieved in the absence of one of tragedy's principal elements (apsis)? What is the purpose of the assimilation of what might be called the dramatic auditor and the dramatic spectator?

But why does Aristotle weaken the argument for this interdependence by stating that the visual apparatus of tragedy (opsis) is unnecessary for achieving the tragic effect? In other words, why does he neutralize tragedy as a spectacle of bodily action by insisting on its efficacy as a verbal expression of internal and invisible mental states and feelings? 24. " See Blundell 1992, 162. 25. Cf. Poetics 1450b4-12; 1456a37. See Lucas 1968, on 1449b38. " See also p. 175 n. 82. 26. Blundell 1992, 157.

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