By Karen Bassi

"Greek drama calls for a narrative of origins," writes Karen Bassi in Acting Like Men. forsaking the hunt for ritual and local origins of Greek drama, Bassi argues for a extra secular and no more formalist method of the emergence of theater in old Greece. Bassi takes a large view of Greek drama as a cultural phenomenon, and he or she discusses a large choice of texts and artifacts that come with epic poetry, historic narrative, philosophical treatises, visible media, and the dramatic texts themselves.
In her dialogue of theaterlike practices and reports, Bassi proposes new conceptual different types for knowing Greek drama as a cultural establishment, viewing theatrical functionality as a part of what Foucault has referred to as a discursive formation. Bassi additionally offers an enormous 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 was once denied women.
Acting Like Men comprises special discussions of message-sending as a kind of scripted speech within the Iliad, of cover 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 identification in Greek and Athenian tradition is very contested within the theater, where--in principle--citizens turn 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 background of the theater, functionality conception, gender and cultural stories, and feminist methods to historic texts.
Karen Bassi is affiliate Professor of Classics, college of California, Santa Cruz.

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

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Nostalgia and Drama It is not my intention to enter into the debate over the strict meaning of the term catharsis in the Poetics, and for that reason I have intentionally not translated it in the preceding passage. 21 Rather, I would like to attempt a preliminary accounting of its subsequent dominance in the critical history of theatrical experience. Within that history, catharsis has been variously defined as a cognitive or an emotional effect, as a purification or a purgation. It is also an effect that is paradoxically independent of the visual experience of the theater.

42 Scripted Speech 43 within the context of communicative practices. Based on the assumption that dramatic speech occupies a middle position between written speech (the script) and oral speech (in performance), this chapter begins with a look at the oral-literate binary in the Western tradition and goes on to define theatrical, or "scripted," speech as a genderspecific mode of communication within that binary. I will also argue that the nostalgia that governs the critical history of drama in the West is specified in the desire for an idealized speaking subject.

In equating the state of the actor with a state of ecstasy and trance, Schechner (1988), like Goldman (1975), implicitly alludes to the ritual origins of western drama-origins that he himself discounts. Acting Like Men the other. Yet the compound paradoxically signifies a lack of differentiation, an androgynous actor/ess. 46 Of course, the compound also implicitly alludes to the fact that the performing body of the actor, distinguished from an everyday or mundane body, signifies hyperbolic embodiment.

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