Anglo-Latin and its Heritage (PJML 4) (Publications of the by Siân Echard, Gernot R. Wieland

By Siân Echard, Gernot R. Wieland

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Extras were a way of working with those limits. An actor who had a speaking part in one scene could exit and change mask and costume. He could then reenter in a different role, and his earlier character could still be present, played by an extra in the mask and costume, as long as the character had no lines. Extras were also needed as “spear carriers”€– not infrequently, a king in tragedy will speak to an attendant whose presence has not been Origins, Festival, and Competition╇ /╇ 45 noted so far.

Even though the theater of Dionysus was large, it could not begin to accommodate the potential audience, so there would be many who would be eager to see a play that was being talked about, and doubtless many who would be eager to see it again. ” But they may also have premiered the tragedies of poets who had not yet been granted a chorus in the city. Athenian tragedy also interested Greeks outside Athens, and, beginning in the late fifth century, performances outside Athens took place not only when a wealthy king chose to patronize a poet, but in various cities.

Euripides’ Helen in Helen has spent the entire Trojan War in Egypt. Euripides did not invent this variant, which he took from the lyric poet Stesichorus, but it was very different from the usual story. The traditional plots did not remove suspense from among the emotions a tragedy could arouse. It has been demonstrated experimentally, in any case, that people can feel suspense when they hear a story whose outcome they already know, and we are all familiar with the intense suspense we can experience when watching films in which we may not know the story already, but the genre is enough to tell us that the hero cannot be killed.

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