|
ORAL
REPORTS
Tips for presentations:
Be brief. Audience attention spans starts to wane after the first
10-15 minutes..
Be visual. It is a lot easier to follow a talk if there are visual
aides for your audience. It could be that you wish to write important
terms or an outline of your talk on the board or create a handout. It
would also be good to show images of what you are discussing (e.g. costumes,
masks, theater buildings, vase paintings). You could also combine textual
and visual images with a powerpoint presentation.
Be prepared. Time your presentation so it's not too short or too
long. Be able to anticipate questions and be able to respond to unexpected
questions. If you are familiar with the material, it will be easier to
be flexible and will make discussion more fluid and fruitful.
Suggested Bibliography:
Athens:
Producers/Directors/Poets:
- Csapo and Slater, The Context of Ancient Drama chapter IIIAii
on the regulations, the choregic system, Judges and Freedom of Expression
- Wiles, Greek Theatre Performance: An Introduction chapter 7
"the writer"
- Pickard-Cambridge Dramatic Festivals of Athens pgs. 79-81
& 84-100
Theatrical Space:
- Csapo and Slater, The Context of Ancient Drama chapter ID148
and skene, proskenion, and skenographia in the
glossary
- Simon The Festivals of Attica: An Archaeological Commentary
- Webster Greek Theatre Production chapter I.1
- Arnott Greek Scenic Conventions chapters 1-4
Costumes
& Masks:
- Csapo and Slater, The Context of Ancient Drama chapter IC and
Appendix A
- Webster, Greek Theatre Production chapter I.1
- Johnson, Ancient Greek Dress
- Trendall and Webster, Illustrations of Greek Drama
Chorus, Actors & Acting:
- Csapo and Slater, The Context of Ancient Drama chapters IVAi,
IVC, & IVD
- "Tragedy and Collective Experience" Gould in Tragedy
and the Tragic
- "Collectivity and Otherness - The Authority of the Tragic Chorus:
Response to Gould" Goldhill in Tragedy and the Tragic
- "Embodying Tragedy: The Sex of the Actor." Rabinowitz
- "The
Male Actor of Greek Tragedy: Evidence of Misogyny or Gender Bending?"
Rabinowitz
Audience:
- Csapo and Slater, The Context of Ancient Drama chapters IVBi
- Goldhill "The Audience of Athenian Tragedy" in The Cambridge Companion
to Greek Tragedy
ROME:
Producers/Directors/Poets: Was Seneca Performed?
- Csapo and Slater, The Context of Ancient Drama chapter IIIC
- Sutton, Seneca on the Stage
- Beacham, The Roman Theatre and Its Audience chapter 5
- Fitch "Playing Seneca?"
- Boyle and Fantham in readings for May 24 & 25
Theatrical Space:
- Beacham, The Roman Theatre and Its Audience chapters 3 &
6
- Beare, The Roman Stage Ch 20
- Bieber The History of Greek and Roman Theater chapter 14
Costumes & Masks:
- Beacham, The Roman Theatre and Its Audience pgs 183 - 189
- Beare, The Roman Stage Ch.24
- Sebesta & Bonfante, The World of Roman Costume
Chorus, Actors & Acting:
- Csapo and Slater, The Context of Ancient Drama chapter IVAiv
- Bieber The History of Greek and Roman Theater chapter 12
- Edwards "Beware of imitations: theatre and the subversion of
imperial identity"
Audience:
- Csapo and Slater, The Context of Ancient Drama chapter IVBii
- Beare, The Roman Stage Chs 21-22, "Seating and Spectators"
and App. A
- Fitch "Playing Seneca?"
- Boyle and Fantham in readings for May 24 & 2
|
