Ancient Theatre Research Articles

SHARING ON WEB 3D MODELS OF ANCIENT THEATRES. A METHODOLOGICAL WORKFLOW

In the last few years, the need to share on the Web the knowledge of Cultural Heritage (CH) through navigable 3D models has increased. This need requires the availability of Web-based virtual reality systems and 3D WEBGIS. In order to make the information available to all stakeholders, these instruments should be powerful and at the same time very user-friendly. However, research and experiments carried out so far show that a standardized methodology doesn’t exist. All this is due both to complexity and dimensions of geometric models to be published, on the one hand, and to excessive costs of hardware and software tools, on the other. In light of this background, the paper describes a methodological approach for creating 3D models of CH, freely exportable on the Web, based on HTML5 and free and open source software. HTML5, supporting the WebGL standard, allows the exploration of 3D spatial models using most used Web browsers like Chrome, Firefox, Safari, Internet Explorer. The methodological workflow here described has been tested for the construction of a multimedia geo-spatial platform developed for three-dimensional exploration and documentation of the ancient theatres of Segesta and of Carthage, and the surrounding landscapes. The experimental application has allowed us to explore the potential and limitations of sharing on the Web of 3D CH models based on WebGL standard. Sharing capabilities could be extended defining suitable geospatial Web-services based on capabilities of HTML5 and WebGL technology.

SHARING ON WEB 3D MODELS OF ANCIENT THEATRES. A METHODOLOGICAL WORKFLOW

Abstract. In the last few years, the need to share on the Web the knowledge of Cultural Heritage (CH) through navigable 3D models has increased. This need requires the availability of Web-based virtual reality systems and 3D WEBGIS. In order to make the information available to all stakeholders, these instruments should be powerful and at the same time very user-friendly. However, research and experiments carried out so far show that a standardized methodology doesn’t exist. All this is due both to complexity and dimensions of geometric models to be published, on the one hand, and to excessive costs of hardware and software tools, on the other. In light of this background, the paper describes a methodological approach for creating 3D models of CH, freely exportable on the Web, based on HTML5 and free and open source software. HTML5, supporting the WebGL standard, allows the exploration of 3D spatial models using most used Web browsers like Chrome, Firefox, Safari, Internet Explorer. The methodological workflow here described has been tested for the construction of a multimedia geo-spatial platform developed for three-dimensional exploration and documentation of the ancient theatres of Segesta and of Carthage, and the surrounding landscapes. The experimental application has allowed us to explore the potential and limitations of sharing on the Web of 3D CH models based on WebGL standard. Sharing capabilities could be extended defining suitable geospatial Web-services based on capabilities of HTML5 and WebGL technology.

An Ancient Theatre Dynasty: The Elder Carcinus, the Young Xenocles and the Sons of Carcinus in Aristophanes

The elder Carcinus and his sons are mentioned, or appear on stage, as tragic performers in three plays by Aristophanes (Wasps, Clouds and Peace). They provide a unique insight into how the performance of tragedy could be (and frequently was) a family business. This study attempts to establish what can be known about this theatrical family from the evidence of comedy and how it functioned as an acting troupe. Moreover, in examining how the family troupe changed over time, we begin to learn more about the process by which one of Carcinus’ sons, Xenocles, was trained as a tragic poet. Though little is known about Carcinus, Xenocles was a relatively successful tragedian, who was active in the final two decades of the fifth century B.C. Both ancient and modern scholars have assumed that Xenocles was a poet by 422, when he is thought to have appeared as a character in the Wasps. I argue that Xenocles did not in fact make his debut as an independent poet until after 420. Before this date Aristophanes recognises Carcinus as the poet of the family company, which suggests that the young Xenocles was still serving his apprenticeship with his father at this time.

Detection of geometric changes for an historic theatre by comparing surveying data of different chronological periods

Abstract This paper presents results from a study where identification and documentation of geometric changes are examined from a weathered ancient theatre using map regression methods. Specifically, a comparison is made between a topographic map created in the 1960s by the German Archaeological Institute and a new map of the same area using state-of-the-art geodetic and terrestrial laser scanning (TLS) techniques. The work scale of the maps is 1:100 and can reveal changes and deformations of relevant size to the scale of the map (over 1.5 cm). The process, described in detail, entails georeferencing, planimetric and vertical comparison and assessment of the changes. The study demonstrates the importance of detecting topographic changes in cultural heritage sites and can be applicable to similar analyses over a range of time periods.

Artistic paintings and drawings as a source for the ancient urban reconstruction of living towns: the cases of Panormus and Regium Lepidi

Artistic paintings and drawings as a source for reconstructing the ancient urban environments of present-day towns: the cases of Panormo and Regium Lepidi. The reconstruction of the ancient appearance of present-day cities is particularly complicated. In this project, to understand ancient Panormo (Palermo) and Regium Lepidi (Reggio Emilia), all available sources have been utilised, an approach that can be applied to every living city in Italy or elsewhere. Drawings, views and engravings of either particular monuments or entire cities are particularly important sources for the reconstruction of ancient towns; they let us see a city much closer to the Roman one than that of today. In this paper we analyse the case studies of the ancient theatre of Palermo and of the amphitheatre of Reggio Emilia.

Virtual reconstruction of the historical acoustics of the Odeon of Pompeii

A decade ago, the Syracuse Charter was promoted to suggest guidelines for the conservation, fruition, and management of the ancient theatrical architecture built during the Greek and Roman periods. Among other aspects, this charter outlined the role of the acoustics in the restoration of ancient theatres. However, it is often common to modify the acoustics of historical theaters according to the needs of modern performances. This paper focuses on the little theater of Pompeii, in the South of Italy, also known as “theatrum tectum” or “Odeon”. Pompeii, which became a Roman colony after being a Samnite city, underwent significant social and economic changes, including the construction of several performing spaces. The city was destroyed by the Vesuvius eructation in 79 A.D. This paper first describes the genesis of the “theatrum tectum” of Pompeii which had a truss wood roof. The results of acoustic measurements in the current state of the theater are used to create a virtual model of the building. Then, using archeological studies about the original architectural design of this theater, this paper presents a virtual reconstruction of the original acoustics during the Roman period. The aim of the present study is to compare the different acoustical characteristics that the “theatrum tectum” of Pompeii has had in its over 2000 year history and to discuss the most adequate performances in the actual theater.

Sharing Emotions Through Theater: The Greek Way

Ancient Greek theater aims at a cognitive basis for the sharing of emotions between characters and audience. In this cognitive model, theater yields gains in understanding others, but with no loss of the sense of self.

Some Initial Observations on a Building Excavated on Fabrika in Nea Paphos in Cyprus by the Australian Archaeological Mission

The Australian archaeological mission to Nea Paphos in Cyprus has begun exploring the remains of a structure to the rear of the cavea of the ancient theatre on the southeastern edge of the hill known as Fabrika. The preliminary results of this excavation suggest a significantly large post-medieval building constructed using stone taken from the former theatre. The building appears to have been used in some sort of industrial production, the precise nature of which is not yet determined, and is perhaps the source of the etymology of the name of the hill. This paper discusses a need for a reassessment of this area of the city of Nea Paphos in its more recent history, and discusses the needs for a better understanding of the urban relationship between Fabrika and the theatrical precinct during the Hellenistic and Roman periods.

A imagem do corpo na tragédia antiga: uma visualidade verbal

Neste estudo duas tragédias de Sófocles e duas de Sêneca são analisadas com o objetivo de identificar a visualidade dada ao corpo através da palavra, a imagem construída para o corpo da personagem, seus níveis de sentido e reverberação no texto e na cena. Essas informações podem ser caracterizadas como rubrica interna, pois são dados que corroboram na construção do espetáculo. Assim, estrutura e conteúdo se engendram potencializando a significação do corpo em cena quer pela sua presença quer por uma visualidade verbal, figurando uma ocupação semântica, a qual se configura como uma das marcas do teatro antigo.Palavras-chave:corpo, palavra, teatro

Between the Archaeological Site and the Contemporary Stage: An Example of Acoustic and Lighting Retrofit with Multifunctional Purpose in the Ancient Theatre of Syracuse

A research conducted on the contemporary use of ancient theatres is presented, focusing on sustainable solutions for passive acoustics and artificial lighting devices. The case study is the theatre of Syracuse, well known as archaeological tourist attraction and as traditional stage for theatrical events. A retrofit was suggested to avoid the use of loudspeakers in the theatre during representations, through the selection of the best performing orchestra shells. For the lighting part, the study focused on the theatre as archaeological site, improving the monumental light system present in the theatre from the maintenance and energy saving points of view.

Lithofacies palaeogeography and biostratigraphy of the lowermost horizons of the Middle Triassic Hallstatt Limestones (Argolis Peninsula, Greece)

Condensed ammonoid beds of the Hallstatt facies (Anisian–Ladinian) are widespread around the Ancient Theatre of Epidaurus, in the locality Theokafta of the Argolis Peninsula (eastern Peloponnesus). The Hallstatt Formation in Argolis appears, generally, in the form of lensoid bodies of variable sizes, inclination and direction and is always found overlying a formation consisting of keratophyric tuffs. In fact, the contact of the keratophyric tuffs with the overlying limestones, specifically evidenced by an in situ brecciated zone, is stratigraphic and constitutes the base of the Hallstatt Limestones. The contact of the Hallstatt Limestones with the overlying radiolarites is stratigraphic as well.Lithofacies and biostratigraphic research has focused on the lowermost horizons of the Hallstatt Limestones of Anisian age (average thickness about 1.30m), where a dense sampling has been performed, followed by detailed facies analysis. The lowermost horizons of the Hallstatt Limestones of Theokafta represent typical hiatus beds/concretions sensuWetzel and Allia (2000), characterized by discontinuous sedimentation and erosion. They consist of red ammonoid-bearing hemipelagic limestones with calcium carbonate nodules floating in an enriched Fe-oxides matrix with dispersed lensoid/prismatic calcium carbonate crystals. This part of the section is characterized by condensed sedimentation, due to significant lowering of the rate of sedimentation and includes omission surfaces, firmgrounds and hardgrounds along certain horizons. Nine lithostratigraphic units have been distinguished in the lowermost horizons of the Hallstatt Limestones, including radiolarian packstones, volcaniclastic facies, packstones/floatstones with ammonoids and lag deposits.Tselepidis (2007) defined nine distinct ammonoid biozones from the Anisian to Ladinian, documenting deposition of the Hallstatt facies during a low depositional rate over nearly 5 million years (using the timescale of Gradstein et al., 2004). The biozones: Japonites/Paracrochordiceras, Hollandites, Procladiscites/Leiophyllites, zoldianus, trinidosus, Reitziites/Parakellnerites and the Nevadites (Anisian) and the biozone curionii (Lower Ladinian). Although sedimentation was very condensed, it didn’t reach the level of mixing fauna.Synsedimentary and early burrowing processes differentiated the primary texture characteristics of the deposited sediments. Multiphase diagenesis occurred not very deep below the sediment surface and includes boring and/or encrustation, burial and cementation. The deposition of the studied Hallstatt Limestones is considered to be due to anaerobic oxidation of organic matter, which provided excess alkalinity, inducing carbonate precipitation. Sedimentation took place on differentially-subsided deep swells. After drowning, the swells were covered by pelagic carbonate deposits. Further slight rotation of blocks, along listric faults, may have led to additional differential subsidence of the blocks. Shelf bathymetry and third-order sea-level changes played a significant role in the formation of the Hallstatt beds. In terms of sequence stratigraphy, the studied hiatus concretions and beds are considered genetically linked to rising or high sea-level, formed at the initiation of transgressions, as well as during the time of maximum rate of transgression, in areas where the sediment input was strongly reduced (“condensed section”).Taking into consideration the present location of the Hallstatt Formation, in the context of the Hellenides, an area suitable for the deposition of the Hallstatt Limestones, should be located between the sub-Pelagonian (western part of the Pelagonian zone) and Pindos geotectonic zones, which during the Triassic corresponded to a platform slope and a deep ocean, respectively. The widespread Middle Triassic Han Bulog Limestones (ammonoid-bearing pelagic limestones) from Triassic successions of the Eastern Alps (Dinarides, Hellenides) may have formed partly in similar slope environments.

LecceAR: An Augmented Reality App

This paper discusses a case study on the use of augmented reality (AR) within the context of cultural heritage. We implemented an iOS app for markerless AR that will be exhibited at the MUST museum in Lecce, Italy. The app shows a rich 3D reconstruction of the Roman amphitheater, which is nowadays only partially visible. The use of state-of-the-art algorithms in computer graphics and computer vision allows the viewing and the exploration of the ancient theater in real-time.

Da citação do trágico. Notas sobre tradição e intransmissibilidade

If there is no doubt that the tradition of the ancient theatre has transmitted to us something of its own experience, to the point that we name as tragedies some works from Shakespeare and Goethe and we take as tragic some moments of the Pasolini and Bergman movies as well, for example, how is it possible to talk about the death of the tragedy, about the rupture of the tragic impulse? At the same time, how is it possible that a world without gods, with an understanding of the action that conceives it leaded by an inner faculty that did not even existed in the 5th century BC in Greece, the will, still has a place for something called tragedy? The solution to these questions depends on the history understanding that leads the researcher, thinker or collector who build them up. The difference is clear if we understand as opposite concepts transhistoricity – typical of the answer from Vernant and Naquet to these same questions – and intransmissibility, indicated by Hannah Arendt on the use of quotes.

Mad, bad, and dangerous to know: psychiatric illness in film and theatre

AimsTo describe and discuss the portrayal of psychiatric illness in film and theatre.MethodA review of psychiatric literature on psychiatric illness and stigma was carried out. This was combined with a review of selected films and plays. The dramatic function of mental illness, and the manner of its portrayal, were considered in a discursive manner.ResultsFrom Ancient Greek theatre to modern film, psychiatric illness has been used to exemplify “otherness”. This has frequently had connotations of danger and violence, either to others or to societal norms. Occasionally psychiatric illness is depicted as transformative, or an understandable reaction to an insane environment, and there is a trend towards more nuanced depictions of mental illness. However, the disproportionate association of mental illness with violence and danger is reflected in the public's perception of mental illness, and contributes to self-stigmatisation.ConclusionOngoing communication between psychiatry, service users and the arts may help to challenge the stereotype of “mad, bad and dangerous to know”.

Towards a Theoretical History for Greek Tragedy

Greek tragedy and its theatre have regularly been drawn into modern theoretical formulas about the nature of theatre making, in proposals which have often had their own cause to plead, but which have still been influential on broadly formed views of the theatre in its history. In this essay, Graham Ley argues that much incidental misrepresentation can be found in this kind of writing alongside the occasional remarkable insight, and that the attention given in modern theory to the Greek theatre is generally inadequate. The theorists discussed are Isadora Duncan, Brecht, Boal, and Hans-Thies Lehmann, with examples also taken from performance theory. Ley then goes on to examine what kind of theoretical view of the ancient Greek theatre would be most appropriate today, and offers a vision of it as a dynamic and innovative environment, looking in this second part of the essay at what can be said of early choric tragedy, of the emergence of the actor, and of the innovation of the dramatic scene building. Graham Ley has written essays on various topics over the years for New Theatre Quarterly, but this is his first piece for the journal on his specialist subject, the performance of ancient Greek tragedy.

Thermal comfort in the Fraschini theatre (Pavia, Italy): Correlation between data from questionnaires, measurements, and mathematical model

Data collected in an Italian ancient theatre were elaborated in order to compare subjective sensations evaluated by means of questionnaires to data measured in field. A simplified model, developed in a previous paper, was validated by using measured data and by comparing the results to data from questionnaires (PMVQ). Questionnaire data vary in a wider range of values than measured ones, confirming a higher variability in the personal sensation due to the possibility of giving only whole numbers. Therefore the questionnaire PMV scale needs to be refined to a 0.5 increment (resulting in 13 values).When comparing data calculated with the simplified model developed by the Authors in a previous work to data from questionnaires, more reliable results in the prediction of PMV were found with respect to measured data. Finally, people who voted 0 were about 54%, while about 88% are in the −1 to +1 range, showing a good behaviour of the theatre, nevertheless a wide range of variability for data from questionnaires corresponds to the same value of indoor air temperature. For this reason the PMV questionnaire scale needs to be refined to a 0.5 increment (resulting in 13 values).

Hydraulic Characteristics of the Drainage Systems of Ancient Hellenic Theatres: Case Study of the Theatre of Dionysus and Its Implications

AbstractThe content of this article provides interesting history, facts, and information about the drainage systems of ancient theaters in mainland Greece and Asia Minor from prehistoric times unti...

The origins of building acoustics for theater and music performances

The ancient Greek amphitheaters and roofed odeia represent the earliest examples of acoustics utilized for enhancing theatrical and music performances over large public audiences, often up to 15,000 participants. Such an early achievement, more than 2000 years ago, was possibly crucial for the foundation of these performance-based art forms within the ancient Greek society and the eventual geographical spread of these buildings. Through the continuous evolution during the Roman era, via the Renaissance theaters and the modern concert halls, these specially constructed spaces allowed the performance-based art forms to be sustained and evolve as essential constituents of the western cultural heritage and civilization. We shall first consider some historical and architectural properties of these early performance spaces and then summarize their design principles and acoustic parameters. Acoustic properties were different for spaces used for theatrical and music performances: open-air theaters for drama were manly utilizing early reflections (e.g., up to 40 ms) to achieve perfect speech intelligibility for listener distances even beyond 60 m; in contrast, roofed-odeia had acoustics appropriate for music with prominent reverberation comparable to that of modern concert halls. The presentation will include auralization demos for important ancient theaters and odeia.

“Velaria” in ancient Roman theatres: Can they have an acoustic role?

In the early Imperial age Roman unroofed theatres were endowed with velaria. Velaria were awnings made of sailcloth, in either canvas, linen or cotton, attached to spokes of rope that could be extended or retracted with ropes and pulleys over the cavea. Their main purpose was to provide shade for the spectators who watched the show in blistering sun and heat. The aim of this paper is to understand if velaria, beside their primary function, could affect the acoustics of the theatres. A specific study was carried out with the use of a commercial software for the prediction of room-acoustics characteristics of halls. Actually, numerical simulations were aided by acoustic measurements performed in two existing theatres, namely the “Teatro Grande” in Pompeii and the “Teatro Romano” in Benevento as they are in the present state. Both theatres are used rather regularly for public shows including music of various genres and drama. Like other ancient theatres not in a good state of conservation both theatres are deficient of natural reverberation because of the lack of structural elements important for this acoustic feature. To overcome inherent drawbacks electroacoustic means are used. However, there are instances where these remedial measures are not appropriate. The results of this study show that the use of suitable awnings can improve the reverberation in these venues.

Teorie pochodzenia Pulcinelli i jego związki z antykiem

A discussion on the origin of Pulcinella, the most important mask of Neapolitan Theatre, is the subject matter of the following article. At the beginning, I will present the characteristics of this figure including his symbolism. Then, I will discuss possible connections of Pulcinella with some dramatic forms of ancient theatre. At the same time, I will describe a review of study of this figure specifying the most important phases of this research. The conclusion of this article will consist of the summary of the results of carried out analysis.