Název: P.Oxy. 2163 fr. 1 : interpretazioni sceniche sul silenzio di Achille
Variantní název:
- P.Oxy. 2163 fr. 1 : Scenic Interpretations of the Silence of Achilles
Zdrojový dokument: Graeco-Latina Brunensia. 2019, roč. 24, č. 1, s. 29-39
Rozsah
29-39
-
ISSN1803-7402 (print)2336-4424 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/GLB2019-1-3
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/141157
Type: Článek
Jazyk
Licence: CC BY-SA 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
The earliest indirect evidence about silence on the Aeschylean stage is in Aristophanes, Frogs 911–913, where Euripides mentions an Achilles who is silent and fixed for a large part of a drama. The difficulty in interpreting these verses is due to the fragmentary trilogy of Achilles: in fact, only Mirmidones, thanks to P. Oxy. 2163, show some information about the use of silence in performance. In particular, fr. 11 of the papyrus attests a characterization of the veiled, seated, and twisted main character, just testified in the scholia vetera of Frogs. Thanks to this, it is possible to underline the silence typology, body language and performative elements of Achilles' character. Aeschylus creates an innovative theatre in which the absence of sound expresses feelings better than speeches do.
Reference
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[2] Bartoletti, V. (1966). Un frammento dei 'Myrmidones' di Eschilo. In A. E. Samuel (Ed.), Essays in Honor of C. Bradford Welles (pp. 121–123). New Haven: American Society of Papyrologists.
[3] Blomfield, C. J. (1814). Aeschyli Persae. Cambridge: University Press.
[4] Ciani, M. G. (1988). Omero. L'ira di Achille (Iliade I). Venezia: Marsilio.
[5] Cordano, F. (1998). Achille desiste dall'ira. In M. Sordi (Ed.), Responsabilità, perdono e vendetta nel mondo antico (pp. 3–8). Milano: Vita e Pensiero.
[6] Croiset, M. (1894). Eschile imitateur d'Homère dans les Myrmidons, les Néréides et les Phrygiens. Revue des Études Grecques, 7, 151–180. | DOI 10.3406/reg.1894.7231
[7] Di Benedetto, V. (1967). Il silenzio di Achille nei 'Mirmidoni'di Eschilo. Maia, 19, 373–386.
[8] Dindorf, G. (Ed.). (1853). Harpocrationis Lexicon in decem oratores atticos. Groningen: Bouma's boekhuis.
[9] Döhle, B. (1967). Die 'Achilleis' des Aischylos in ihrer Auswirkung auf die attische Vasenmalerei des 5. Jahrhunderts. Klio, 49, 63–149.
[10] Edmunds, L. (1996). Theatrical Space and Historical Place in Sophocles' Oedipus at Colonus. Lanham – Boulder – New York – London: Rowman & Littlefield.
[11] Garzya, A. (1995). Sui frammenti dei 'Mirmidoni' di Eschilo. In J. A. López Férez (Ed.), De Homero a Libanio. Estudios actuales sobre textos griegos (Vol. 2 ; pp. 41–56). Madrid: Ediciones Clásicas.
[12] Griffin, J. (Ed.). (1995). Homer: Iliad. Book Nine. Oxford: University Press.
[13] Hadjicosti, I. (2007). Aischylos and the Trojan Cycle. The Lost Tragedies (Diss. thesis). London: University of London.
[14] Hermann, G. (1834). De Aeschyli Myrmidonibus, Nereidibus, Phrygibus (Opuscula, V; pp. 136–163; Diss. thesis). Leipzig: Staritz.
[15] Johansen, K. F. (1967). The Iliad in Early Greek Art. Copenhagen: Munksgaard.
[16] Johnson, W. A. (2004). Bookrolls and Scribes in Oxyrhynchus. Toronto: University Press.
[17] Kraias, G. (2011). Epische Szenen in tragischem Kontext: Untersuchung zu den Homer-Bezügen bei Aischylos (Prismata). Bern: Peter Lang.
[18] Lobel, E. (1941). P.Oxy. 2163. In E. Lobel, C. H. Roberts, & E. P. Wegener (Eds.), The Oxyrhynchus Papyri, Part XVIII. London: Egypt Exploration Society.
[19] Lucas De Dios, J. M. (2008). Esquilo. Fragmentos – Testimonios. Introducciones, traducciòn y notas. Madrid: Editorial Gredos.
[20] McNamee, K. (1992). Sigla and Select Marginalia in Greek Literary Papyri. Bruxelles: Fondation Égyptologique Reine Élisabeth.
[21] Melchinger, S. (1978). Das Theater der Tragödie. Aischylos, Sophokles, Euripides auf der Bühne ihrer Zeit. München: Beck.
[22] Michelakis, P. (2002). Achilles in Greek Tragedy. Oxford: University Press.
[23] Moreau, A. (1996). Eschyle et les tranches des repas d'Homère: La Trilogie d'Achille'. In A. Moreau (Ed.), Panorama du théâtre antique: D'Eschyle aux dramaturges d'Amérique Latine (Cahiers du GITA, 9; pp. 3–29). Montpellier: Groupe Interdisciplinaire du Théâtre.
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[25] Radt, S. L. (Ed.). (1985). Tragicorum Graecorum Fragmenta (TrGF), III: Aeschylus. Göttingen: Vandenhoeck & Ruprecht.
[26] Sommerstein, A. H. (2008). Aeschylus, III: Fragments. Cambridge – London: Harvard University Press.
[27] Stama, F. (2015). Il riscatto del corpo di Ettore: una rivisitazione mercantesca in Eschilo. Lexis, 33, 71–79.
[28] Taplin, O. (1972). Aeschylean Silences and Silences in Aeschylus. Harvard Studies in Classical Philology, 76, 57–97. | DOI 10.2307/310978
[29] Taplin, O. (1977). The Stagecraft of Aeschylus. Oxford: University Press.