Table Of ContentAnna A. Lamari
Reperforming Greek Tragedy
Trends in Classics –
Supplementary Volumes
Edited by
Franco Montanari and Antonios Rengakos
Scientific Committee
Alberto Bernabé · Margarethe Billerbeck
Claude Calame · Jonas Grethlein · Philip R. Hardie
Stephen J. Harrison · Stephen Hinds · Richard Hunter
Christina Kraus · Giuseppe Mastromarco · Gregory Nagy
Theodore D. Papanghelis · Giusto Picone · Kurt Raaflaub
Tim Whitmarsh · Bernhard Zimmermann
Volume 52
Anna A. Lamari
Reperforming
Greek Tragedy
Theater, Politics, and Cultural Mobility
in the Fifth and Fourth Centuries BC
ISBN 978-3-11-055986-6
e-ISBN (PDF) 978-3-11-056116-6
e-ISBN (EPUB) 978-3-11-055993-4
ISSN 1868-4785
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A CIP catalog record for this book has been applied for at the Library of Congress.
Bibliographic information published by the Deutsche Nationalbibliothek
The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie;
detailed bibliographic data are available in the Internet at http://dnb.dnb.de.
© 2017 Walter de Gruyter GmbH, Berlin/Boston
Logo: Christopher Schneider, Laufen
Printing: CPI books GmbH, Leck
♾ Printed on acid-free paper
Printed in Germany
www.degruyter.com
For Konstantina, Maria, and Konstantina:
daughter, mother, andgrandmother.
Contents
Preface IX
Introduction 1
Traveling poets in Attica and beyond 17
. Introduction 17
. A culture of travel and reperformance 18
. Aeschylus 23
.. Aeschylus in Sicily 23
. Sophocles 35
.. Sophocles and Aristophanes (re)performing at Eleusis 35
.. Sophocles (re)performing Telepheia at Halai Aixonides 37
.. A reperformanceat Kollytos? 38
. Euripides 39
.. Euripides in Sicily 39
.. Euripides (re)performing in Peiraeus 40
.. Euripides performing in Anagyrous 44
.. Euripides in Macedon 45
.. Euripidean reperformances in Cyrene? 53
.. Euripides in Thessaly and Molossia? 54
. The tradition of the embolima 56
Reperformances in a political context 59
. Introduction 59
. Beginning of reperformances in the fifth century 60
.. Evaluating the sources 62
.. διδάσκειν, ἀναδιδάσκειν, and παραδιδάσκειν 66
. Aeschylus’ death and the politicization of tragic
reperformances 68
.. Choregiae 69
.. Aeschylus and Pericles 72
. Euripides, palaion drama, and 386 77
. Traveling actors and reperformances of tragedy in Macedon 82
.. Philip II 82
.. Alexander 89
. Political reperformances of tragedyin Sicily 92
VIII Contents
Tragic reperformances and traveling actors 95
. Introduction 95
. Traveling texts 96
. Reperformances by traveling actors and local choruses 99
. Reperformances and the development of the acting profession 105
. The rise of actors as reflected in vase-painting 110
. Actors, reperformances and textual transmission 115
.. Playwrights’ authority 117
.. Actors, reperformances and texts 121
.. Master copies 123
.. Reperformances and actors’ interpolations: surveying the ancient
evidence 125
Reperformances and Vase-painting 130
. Introduction 130
. ‘Philodramatists’ and ‘Iconocentrists’ 131
. Vases 137
. Outbound traveling: images exported to the West 137
.. Cyclops (re)performed 137
.. Reperformances and some vases of the Policoro tomb 141
.. Euripides’ Heracleidae 142
.. Euripides’ Medea in Policoro and Cleveland 144
. Inbound traveling: images imported to the East and
repurposed 151
.. Aetnaeae recycled? 151
. The visual memory of viewers and vase-painters 156
Conclusions 159
Abbreviations and Conventions 163
Bibliography 164
List of Plates/Image Credits 178
Plates 179
General Index 194
Index of Passages 197
Preface
It is a pleasure to recognize the help that I have received from family, friends,
colleagues and institutions during my work on this book. First among these is
Patrick Finglass,with whom I shared my idea of starting a project on tragic re-
performancesbackinDecember2010.Sincethen,hehasbeenreadingeachsec-
tionofthebookassoonasitwasreadyandgenerouslyprovidingacademicmo-
tivation and personal support. I was also fortunate enough to benefit from the
encouragementanderuditionofEricCsapo,whomagnanimouslyreadandcom-
menteduponthefinaldraftandgraciouslypushedforthebigandclearerideas.
Antonios Rengakos has once again been a dearest friend and benefactoron an
academicandapersonallevel.Iwouldliketoexpressmydeepgratitudetoboth
him and Franco Montanari for accepting my work in Trends in Classics Supple-
mentary Volumes. I am also indebted to Angelos Chaniotis for his illuminating
remarks at the Center for Hellenic Studies Symposium in 2014 and for allowing
me access to forthcoming workof his.
ThisbringsmetotheimmensedebtofgratitudeIowetoGregNagyandHar-
vard’sCenterforHellenicStudies.TheprofuseauspicesoftheCenterforHellenic
Studies provided an idyllic environment of unprecedented academic assistance
for the establishment and progress of my ideas on tragic reperformances.Greg
Nagy’swisdomenhancedmythoughtsonancientperformanceandhisenthusi-
asmandwarmthprovidedgenerousencouragement.Anumberofotherfunding
bodiesmadethecompletionofthisbookpossible.TheAristotleUniversity’sRe-
searchCommitteehastwicehonoredthisprojectwithawardsofexcellence,and
the Nikos and Lyntia Tricha Foundation funded this book at its initial stages.
Onapersonallevel,thisbookwouldhaveneverbeencompletedwithoutthe
love,patience, and assistanceof myhusband Christos Tsagalis, and mydaugh-
ters Alexia and Konstantina. I thank the former for being my biggest, earnest,
and dearest supporter and for unfailingly proving how labor omnia vincit. I
thank the latter for being the best children a mother could ask for. My brother
GregoryandmyfatherAlexiswerealwaysmychampions.MymotherMariafol-
lowed me to the other side of the Atlantic to care for mydaughterswhile Iwas
workingattheCenterforHellenic Studies,havingnosecondthoughtsconcern-
ingtheEastCoastwintersormychildrens’tantrums.Herselflesslovetouswas
puttothebiggesttestwhenhermotherpassed.Thisbookisdedicatedtoher,my
late grandmother, and mydaughter Konstantina.
