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Menander's Characters in the Fourth Century BC and Their Reception in Modern Greek Theatre

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Menander's Characters in the Fourth Century BC and Their Reception in Modern Greek Theatre Menandrean Characters in Context: Menander’s Characters in the fourth century BC and their reception in Modern Greek Theatre. Stavroula Kiritsi Royal Holloway, University of London PhD in Classics 1 Declaration of Authorship I, Stavroula Kiritsi, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______Stavroula Kiritsi________________ Date: _________27/06/2017_______________ 2 Abstract The thesis explores the way in which character is represented in Menander’s comedies and in the revival, translation, and reception of Menandrean comedy in the modern Greek theatre. Although modern translators and directors may have sought to reproduce the ancient dramas faithfully, they inevitably reshaped and reinterpreted them to conform to audience expectations and the new cultural context. Comparing aspects of character in the ancient and modern plays sheds light on both traditions. In assessing how character was conceived in the Hellenistic period, I make use of ethical works by Aristotle and other philosophers, which provide an appropriate vocabulary for identifying the assumptions of Menander and his audience. For the modern adaptations, I have made extensive use of a variety of archival materials as well as interviews with artists engaged at every stage of the production. The thesis comprises an Introduction, two Parts (I-II), and Conclusion. Part I examines Menandrean characters in the context of the Hellenistic Greek audience and society, with special reference to Aristotle’s and Theophrastus’ accounts of character and emotion. In the first chapter of Part II I survey the ‘loss and survival’ of Menander from antiquity and Hellenistic times, through Byzantium and the post-Byzantine period, to nineteenth-century Greece. Along the way I discuss references to Menander in the commentaries on comedy of Konstantinos Oikonomos (1816); a comedy from the 15th century by Dimitrios Moschos written in Renaissance Italy (the first modern Greek instance of the reception of Menander); the theatrical play Agora by Demetrios Paparigopoulos (1871), the second known adaptation of Menander’s plays in modern Greek; and the first ever Greek production of Menander’s Epitrepontes in 1908. 3 The rest part of Part II examines the reception of Menandrean characters in the modern Greek theatre. In particular, I examine the construction of characters in two more recent Greek productions of Epitrepontes (1959 and 1980) and in two productions of Dyskolos (1960 and 1985). 4 Table of Contents Abstract......................................................................................................................... 3 Table of Contents ........................................................................................................ 5 List of Abbreviations .................................................................................................. 6 Acknowledgements .................................................................................................... 7 INTRODUCTION ....................................................................................................... 9 Part I CHAPTER 1: The Conceptual World of Menander’s Comedies ........................ 26 CHAPTER 2: Epitrepontes ......................................................................................... 66 CHAPTER 3: Dyskolos ............................................................................................ 107 Part II CHAPTER 4: Menander’s survival and revival in Modern Greek culture: From Renaissance Italy to 1908 Athens, some case studies .............................. 155 CHAPTER 5: Productions of Epitrepontes ........................................................... 175 A. The staging of Epitrepontes in 1959: The first Greek adaptation of the entire surviving play ..................................................................................... 177 B. Epitrepontes in 1980: Five Acts in Five Eras ............................................... 205 CHAPTER 6: Productions of Dyskolos .................................................................. 265 A. The first production of Dyskolos in 1960 .................................................... 265 B. ‘Menander’s new adventure’: The Dyskolos’ production in 1985 by the Theatrical Organization of Cyprus ...................................... 273 CONCLUSION ........................................................................................................ 295 BIBLIOGRAPHY ..................................................................................................... 303 5 Abbreviations For Journals, I follow the abbreviations of L’Année Philologique Other Abbreviation Aristotle’s treatises Nicomachean Ethics: NE Eudemian Ethics: EE De Anima: DA Magna Moralia: MM De Motu Animalium: De motu. Virtues and Vices: Vir. K-A: Kassel, R and Austin C. (eds.) (1983-2001), Poetae Comici Graeci. 8 Vols., Berlin. LSJ: Liddell, H.G, Scott. R. and Jones H.S. (eds.) (1940), (9th ed., with supplement published in 1996), Greek-English Lexicon, Oxford OED: Oxford English Dictionary Fr: fragment Frr: fragments 6 Acknowledgments My academic journey started a long time ago with the encouragement and unconditional support of the late Lena Gourgiotis, archaeologist and Founder and Director of the Ethnographical and Historical Museum of Larissa, my home town. Although Lena is not with me any more to share my joy at reaching my Ithaca, I am sure her soul can sense it and my huge ΕΥΧΑΡΙΣΤΩ for all she has done for me. I would like to express my deepest gratitude to Professors Anne Sheppard and Chris Carey (University College London), who agreed to be my supervisors at a crucial moment of my research. They have taught, advised and supported me enormously. Both are role models of PhD supervisors and teachers. I am profoundly indebted as well to my examiners, Professors Alan Sommerstein and William Furley, whose comments were invaluable and helped me to improve the thesis substantially. I am also grateful to my mentor Professor David Konstan, who not only advised me on various aspects of my research, and read and commented on numerous drafts of my thesis, but also invited me as a Visiting Scholar at Brown University and New York University (USA). Professor Konstan had faith in me when I had lost faith in myself. His unfailing encouragement and precious philia have been my rock. To the late Captain Vassilis Constantakopoulos, Mrs Karmen Constantakopoulou, Mrs Marina Marks and the Michael Marks Charitable Trust who generously supported me financial at various stages of my research. I am deeply thankful to Professor Mike Edwards and Dr Olga Krzyszkowska who, during their tenure at the Institute of Classical Studies, University of London, generously supported my research. Professor Edwards also read drafts of my thesis at various stages and offered me insightful comments; to 7 Professor Edith Hall who discussed with me my ideas on Menander’s reception in modern Greek and offered me important advice; to the theatrical directors: the late Evis Gavrielides, the late Spyros Evangelatos, Mr Panos Charitoglou and Mr Kanellos Apostolou. I am grateful to the translators, the late Yannis Varveris, the late Tassos Roussos and Mr Leonidas Malenis, and to the actors, Mr Alkinoos Ioannides, Mr Kostas Tsianos, and Mr Kostas Sandas; and to the costume designer Mr Yannis Metzikof, all of whom granted me interviews regarding the modern Greek productions of Menander. My thanks also to Dr Anna Mauroleon (Archives of the Theatrical Museum in Athens), Ms Dimitra Valeonti (National Theatre of Northern Greece, in Thessaloniki) and Ms Marina Maleni (Theatrical Organization of Cyprus, Nicosia), who helped me enormously in my research on archival material and provided me with precious information about the modern Greek productions; to the Hellenic Institute of Royal Holloway and especially its late Director Julian Chrysostomides for all her support and genuine interest in my thesis; and to Dr Kostas Kalimtzis who enthusiastically shared with me his knowledge of Aristotle and Plato and was not sparing of his time in explaining to me his own approach to the fascinating topic of the ancient Greek emotions. In the Classics Department of Royall Holloway, I thank Professors Richard Alston and Jonathan Powell who, during their tenures as Directors of Postgraduate students and Heads of Department, assisted me in various studentship matters, and Mrs Margaret Scrivner (Senior Faculty Administrator) for her precious support and for honouring me with her friendship for many years. Finally, I would not have achieved my goal without the everlasting support and love of my dearest Vasso, Loukia, Alexis, Vivi and Xenia. I dedicate my thesis in memory of my father Zissis, to my mother Maria and to my mentor Professor David Konstan. 8 9 Introduction This dissertation is a study of the representation of character and emotion in two historical epochs: classical Athens of the fourth and third centuries BC and modern Greece of the twentieth century. In this respect, it is an exercise in historical interpretation, in accord with the injunction of Frederic Jameson: ‘Always historicize!’1 Modern approaches to literary and cultural analysis have recognized for some time that values differ from one society to another, and that ancient Greece cannot be taken simply as the crucible of our own ideals, as though nothing had changed in the course of two millennia
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