A Journey to Th Ancients Theatres and Odeia of the World
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Acoustic Design of Ancient Buildings: the Odea of Pompeii and Posillipo
buildings Article Acoustic Design of Ancient Buildings: The Odea of Pompeii and Posillipo Giuseppe Ciaburro *, Gino Iannace , Ilaria Lombardi and Amelia Trematerra Department of Architecture and Industrial Design, Università degli Studi della Campania Luigi Vanvitelli, Borgo San Lorenzo, 81031 Aversa (Ce), Italy; [email protected] (G.I.); [email protected] (I.L.); [email protected] (A.T.) * Correspondence: [email protected]; Tel.: +39-0818122530 Received: 10 October 2020; Accepted: 25 November 2020; Published: 2 December 2020 Abstract: In this paper, a typology of a building erected in Ancient Greece and Ancient Rome is described: the Odeon. The Odeon is a covered building, but more modest in size than traditional open-air theatres without roofs. The Odeon could hold a few hundred spectators and therefore a smaller audience. The roof covering allowed the possibility of meetings even in adverse weather conditions. The etymology of the word of the Odeon (covered theatre) means the place of the ode, or of the songs. In this paper are discussed the architectonic and acoustic characteristics of the Odea of Pompeii and Posillipo. With commercial software (Odeon, Room Acoustics Software, Lyngby Denmark) we assess the acoustic characteristics of the Odea of Pompeii and Posillipo in the presence of an original roofing system and show that these buildings were well suited for music, songs and speech. Keywords: ancient theatres; Odeon; cavea; orchestra; reverberation time; audience 1. Introduction The ancients had no scientific knowledge of the physics of sound; they relied on the observation and interpretation of natural phenomena in a mythological key and through oracles. -
Avant Première Catalogue 2018 Lists UNITEL’S New Productions of 2017 Plus New Additions to the Catalogue
CATALOGUE 2018 This Avant Première catalogue 2018 lists UNITEL’s new productions of 2017 plus new additions to the catalogue. For a complete list of more than 2.000 UNITEL productions and the Avant Première catalogues of 2015–2017 please visit www.unitel.de FOR CO-PRODUCTION & PRESALES INQUIRIES PLEASE CONTACT: Unitel GmbH & Co. KG Gruenwalder Weg 28D · 82041 Oberhaching/Munich, Germany Tel: +49.89.673469-613 · Fax: +49.89.673469-610 · [email protected] Ernst Buchrucker Dr. Thomas Hieber Dr. Magdalena Herbst Managing Director Head of Business and Legal Affairs Head of Production [email protected] [email protected] [email protected] Tel: +49.89.673469-19 Tel: +49.89.673469-611 Tel: +49.89.673469-862 WORLD SALES C Major Entertainment GmbH Meerscheidtstr. 8 · 14057 Berlin, Germany Tel.: +49.30.303064-64 · [email protected] Elmar Kruse Niklas Arens Nishrin Schacherbauer Managing Director Sales Manager, Director Sales Sales Manager [email protected] & Marketing [email protected] [email protected] Nadja Joost Ira Rost Sales Manager, Director Live Events Sales Manager, Assistant to & Popular Music Managing Director [email protected] [email protected] CATALOGUE 2018 Unitel GmbH & Co. KG Gruenwalder Weg 28D 82041 Oberhaching/Munich, Germany CEO: Jan Mojto Editorial team: Franziska Pascher, Dr. Martina Kliem, Arthur Intelmann Layout: Manuel Messner/luebbeke.com All information is not contractual and subject to change without prior notice. All trademarks used herein are the property of their respective owners. Date of Print: February 2018 © UNITEL 2018 All rights reserved Front cover: Alicia Amatriain & Friedemann Vogel in John Cranko’s “Onegin” / Photo: Stuttgart Ballet ON THE OCCASION OF HIS 100TH BIRTHDAY UNITEL CELEBRATES LEONARD BERNSTEIN 1918 – 1990 Leonard Bernstein, a long-time exclusive artist of Unitel, was America’s ambassador to the world of music. -
The Tyrannies in the Greek Cities of Sicily: 505-466 Bc
THE TYRANNIES IN THE GREEK CITIES OF SICILY: 505-466 BC MICHAEL JOHN GRIFFIN Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Classics September 2005 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 2 ACKNOWLEDGEMENTS Firstly, I would like to thank the Thomas and Elizabeth Williams Scholarship Fund (Loughor Schools District) for their financial assistance over the course of my studies. Their support has been crucial to my being able to complete this degree course. As for academic support, grateful thanks must go above all to my supervisor at the School of Classics, Dr. Roger Brock, whose vast knowledge has made a massive contribution not only to this thesis, but also towards my own development as an academic. I would also like to thank all other staff, both academic and clerical, during my time in the School of Classics for their help and support. Other individuals I would like to thank are Dr. Liam Dalton, Mr. Adrian Furse and Dr. Eleanor OKell, for all their input and assistance with my thesis throughout my four years in Leeds. Thanks also go to all the other various friends and acquaintances, both in Leeds and elsewhere, in particular the many postgraduate students who have given their support on a personal level as well as academically. -
Specialtours
Specialtours BOSTON ATHENÆUM SICILY with Director and Librarian Paula Matthews and Guest Lecturer Peter Lauritzen September 14 - 26, 2013 _____________________________________________________ SICILY September 14 - 26, 2013 with Guest Lecturer Peter Lauritzen This tour of the Mediterranean’s largest island allows ample opportunity to explore in detail the breathtaking treasures of a millennial culture and civilization. Long before Florence or even Rome had any significance in the Italian cultural story, Sicily was at the heart of a great civilization. Our twelve-day exploration begins in Taormina, famous for its dramatic situation high above the Ionian sea, a refuge for Greeks from the island’s oldest colony, Naxos, just south of the Messina straits which we cross to see the legendary “Bronzes of Riace,” the finest heroic sculptures to survive anywhere in the classical world. Our drives along Sicily’s eastern coastline take us beneath the constantly erupting volcano of Aetna, first described by Pindar in an ode celebrating the triumph of a Sicilian Greek tyrant at the Olympic Games. Two nights in Syracuse in a hotel overlooking the port which saw the defeat of the mighty Athenian navy by Dorian Greeks in 413 B.C. in an epochal action described by Thucydides, allow us to explore monuments of Sicily’s Greek past such as the largest Greek theater ever excavated, the quarries where thousands of Athenian prisoners were imprisoned by the Syracusans, along with the ruins of the Temple of Apollo, second oldest in the Greek world, or the Temple of Athena built to commemorate a great Greek victory on October 20th, 480 B.C., the very day that saw the salvation of Greek Democracy at the Battle of Salamis among the islands in the Bay of Athens. -
Chthonians in Sicily Curbera, Jaime B Greek, Roman and Byzantine Studies; Winter 1997; 38, 4; Proquest Pg
Chthonians in Sicily Curbera, Jaime B Greek, Roman and Byzantine Studies; Winter 1997; 38, 4; ProQuest pg. 397 Chthonians in Sicily Jaime B. Curbera To the memory of Giuseppe Nenci ICILY WAS FAMOUS for her chthonic deities. 1 According to tradition, Hades abducted Kore at Syracuse, Henna, or SAetna; Pindar calls Acragas <l>EpoE<j)6vac; EDOC; (Pyth. 12.2); and the whole island was said to be sacred to Demeter and Kore (Diod. 5.2.3; Cic. Verr. 2.4.106). Indeed, archaeological and numismatic evidence abundantly confirms the literary sources.2 This paper deals with some previously unnoticed epi thets of Sicily's chthonic gods and with the reflection of their cult on personal names on the island. I. The Kyria Earlier in this century, a grave in ancient Centuripae, some 30 km southwest of Mt Aetna, yielded an interesting lead curse tablet, first published by Domenico Comparetti after a drawing by Paolo Orsi, and again, in apparent ignorance of Comparetti's edition, by Francesco Ribezzo with a drawing from autopsy.3 Neither text was satisfactory. Using Orsi's and Ribezzo's drawings, J. J. E. Hondius, "adiuvantibus Cr[onert] et Wil h[elm]," produced in 1929 what is now the best text, SEG IV 61. I Abbreviations: DTAud=A. Audollent, Defixionum tabellae quotquot in notuerunt (Paris 1904); DTWu=R. Wunsch, Defixionum tabellae (Berlin 1897); IGDS=L. Dubois, Inscriptions grecques dialectales de Sicile (Rome 1989); Jordan=D. R. Jordan, • A Survey of Greek Defixiones Not Included in the Special Corpora," GRBS 26 (1985) 151-97. 2 See e.g. -
Characterization of Concrete from Roman Buildings for Public Spectacles in Emerita Augusta (Mérida, Spain)
Characterization of concrete from Roman buildings for public spectacles in Emerita Augusta (Mérida, Spain) María Isabel Mota-Lópeza, Rafael Fortb, Mónica Álvarez de Buergob, Antonio Pizzoc, Rubén Maderuelo-Sanza, Juan Miguel Meneses-Rodrígueza, Duygu Ergençb (a) Instituto Tecnológico de Rocas Ornamentales y Materiales de Construcción, INTROMAC, Campus Universidad de Extremadura, 10071, Cáceres, Spain. (b) Instituto de Geociencias (CSIC, UCM), José Antonio Nováis 12, 28040, Madrid, Spain. (c) Instituto de Arqueología de Mérida (IAM-CSIC). Plaza de España 15, 06800, Mérida, Spain. Abstract The present study focuses on the compositional characterization of Roman concrete from Roman buildings for public spectacles, theatre and amphitheatre, from Emerita Augusta, Mérida, Spain. An advanced knowledge of the Roman concrete composition is required to get a reliable restoration and preservation of these ancient monuments. The concrete was studied through mineralogical (petrographic microscope and X ray diffraction) and petrophysical (bulk and real density, open porosity, mercury intrusion porosimetry, compressive strength and ultrasonic pulse velocity) analyses. With this work, it is possible to fill the gap which exists in this field, the characterization of the materials used in the Roman concrete from these two buildings, never previously studied, despite the significance of this archaeological ensemble, declared a World Heritage Site by UNESCO in 1993. The obtained results of the studied samples, allowed us to determine the composition of the concrete and to infer the provenance of the aggregates used in it. Keywords: Roman concrete; Heritage; Mineralogical analysis; Petrophysical analysis; Provenance. 1 1. Introduction The restoration of historical buildings is very important for the history and culture of the cities and their population. -
Sicilian Landscape As Contested Space in the First Century BC: Three Case Studies
Sicilian Landscape as Contested Space in the First Century BC: Three Case Studies Dustin Leigh McKenzie BA (Hons), Dip. Lang. A thesis submitted for the degree of Master of Philosophy at The University of Queensland in 2018 School of Historical and Philosophical Inquiry ii Abstract Sicily was made the first overseas Roman province between 241 and 212 BC, and became known as the ‘bread-basket’ of the Republic due to the island’s famously fertile farmlands. The island, with its history of pre-Roman conflict, second century slave revolts, and use as a military stronghold in the civil wars of the first century, never dissociated itself from conflict. As such, its construction as a ‘contested space’ was popular in the literature of first-century Rome, employed as a symptomatic topos of the state of Rome – the closer Roman Sicily resembled its pre- annexation state, the greater the perceived threat to the Republic, and vice-versa. This construction of Sicily and its landscape was employed by authors such as Cicero, Diodorus Siculus, and Virgil to great effect, as they engaged with, reinforced, or challenged the major contemporary discourses of imperialism, the impact of civil war, and food security. Cicero’s In Verrem presents its audience with a Sicily that has been purposely constructed to deliver the most damning image of Verres, the infamously corrupt governor of Sicily from 73-71, the most sympathetic and familiar image of the Sicilians, presented as virtuous and stoic farmers, and a Sicily that has been reduced to a war-torn desert under Verres’ rule. Through his construction of Sicily as contested space, Cicero secured his win against Verres in court and demonstrated to his audiences the danger Verres’ actions presented Rome, threatening the stability of the relationship between Sicily and Rome. -
Typological Studies of Ancient Theatre Architecture: the Tree Vs
Paper Information: Title: Typological Studies of Ancient Theatre Architecture: The Tree vs. the Rhizome Model Author: Zeynep Aktüre Pages: 89–107 DOI: http://doi.org/10.16995/TRAC2007_89_107 Publication Date: 04 March 2008 Volume Information: Fenwick, C., Wiggins, M., and Wythe, D. (eds.) (2008) TRAC 2007: Proceedings of the Seventeenth Annual Theoretical Roman Archaeology Conference, London 2007. Oxford: Oxbow Books. Copyright and Hardcopy Editions: The following paper was originally published in print format by Oxbow Books for TRAC. Hard copy editions of this volume may still be available, and can be purchased direct from Oxbow at http://www.oxbowbooks.com. TRAC has now made this paper available as Open Access through an agreement with the publisher. Copyright remains with TRAC and the individual author(s), and all use or quotation of this paper and/or its contents must be acknowledged. This paper was released in digital Open Access format in April 2013. Typological Studies of Ancient Theatre Architecture: The Tree vs. the Rhizome Model Zeynep Aktüre This paper aims to draw attention to a comparatively recent paradigm shift in studies on ancient theatre architecture that has resulted in a transformation of the rather familiar theatre typology based on Greek-Roman binarism to one which stresses a multiplicity in the ancient performance building types that escapes a representation of the binary model; and explains this change by a parallel shift of emphasis from the idea of commonness to that of plurality in the conceptualisation of European cultural identity. Such contextualisation of the modern historiography on ancient theatre architecture in contemporary Europe, where we find the origins of archaeology as a discipline, would conform to the idea that ‘archaeological interpretation is necessarily a subjective process which is influenced by the socio-political context in which it takes place’ (Jones and Graves-Brown 1996: 19). -
Some Reflections on Aeschylus' Aetnae(Ae)*
SOME REFLECTIONS ON AESCHYLUS’ AETNAE(AE)* As it is well-known, there are several contributions which deal with the questions raised by the little amount of evidence available on Aeschylus’ Aetnae(ae)1. Unfortunately, it is not the appearance of any new data that has prompted this article, but rather realizing that some points made by my predecessors need rectifying, where- as other interesting elements (not certainties yet, though) deserve wider appreciation. So my reflections will still be speculative, though perhaps more sensible and more respectful of likelihood. *) I wish to thank both Dr. M. L. West of All Souls College, Oxford, and the editor Prof. B. Manuwald for their helpful and acute criticism of this article. An ear- lier draft of this article was presented at the Graduate work-in-progress seminar, Corpus Christi College, Oxford, in November 1999: many thanks to those present for their intelligent remarks. 1) I shall leave undecided the form of the title, until I have argued in favour of one. I have benefited from the following secondary literature: G. Hermann, De Aeschyli Aetnaeis, in: Opuscula (Lipsiae 1831) VII 315–31, especially 315–23; Ed. Fraenkel, Vermutungen zum Aetna-Festspiel des Aeschylus, Eranos 52 (1954) 61– 75 (= Id., Kleine Beiträge zur klassischen Philologie [Roma 1964] II 249–62); M. Pohlenz, Die griechische Tragödie (Göttingen 21954) II 198–200; R. Stark, Os- servazioni su due drammi di Eschilo perduti, Maia 8 (1956) 83–91, especially 83–9; E. Grassi, Papyrologica, PP 11 (1956) 208; Id., Postilla (Aesch. fr. 6 N., 3), PP 12 (1957) 374; Q. -
Quod Omnium Nationum Exterarum Princeps Sicilia
Quod omnium nationum exterarum princeps Sicilia A reappraisal of the socio-economic history of Sicily under the Roman Republic, 241-44 B.C. Master’s thesis Tom Grijspaardt 4012658 RMA Ancient, Medieval and Renaissance Studies Track: Ancient Studies Utrecht University Thesis presented: June 20th 2017 Supervisor: prof. dr. L.V. Rutgers Second reader: dr. R. Strootman Contents Introduction 4 Aims and Motivation 4 Structure 6 Chapter I: Establishing a methodological and interpretative framework 7 I.1. Historiography, problems and critical analysis 7 I.1a.The study of ancient economies 7 I.1b. The study of Republican Sicily 17 I.1c. Recent developments 19 I.2. Methodological framework 22 I.2a. Balance of the sources 22 I.2b. Re-embedding the economy 24 I.3. Interpretative framework 26 I.3a. Food and ideology 27 I.3b. Mechanisms of non-market exchange 29 I.3c. The plurality of ancient economies 32 I.4. Conclusion 38 Chapter II. Archaeology of the Economy 40 II.1. Preliminaries 40 II.1a. On survey archaeology 40 II.1b. Selection of case-studies 41 II.2. The Carthaginian West 43 II.2a. Segesta 43 II.2b. Iatas 45 II.2c. Heraclea Minoa 47 II.2d. Lilybaeum 50 II.3. The Greek East 53 II.3a. Centuripe 53 II.3b. Tyndaris 56 II.3c. Morgantina 60 II.3d. Halasea 61 II.4. Agriculture 64 II.4a. Climate and agricultural stability 64 II.4b. On crops and yields 67 II.4c. On productivity and animals 70 II.5. Non-agricultural production and commerce 72 II.6. Conclusion 74 Chapter III. -
Passage Along The
SPECIAL OFFER -SAVE £200 PER PERSON PASSAGE ALONG THE RHONEDiscover the cultural & natural splendours of the Rhone aboard the MS Van Gogh 15th to 23rd May & 30th June to 8th July 2021 Abbaye Saint-Andre Palais des Papes, Avignon xploring any country by river provides the traveller with extra insight, Eunderstanding and a lasting memory. This is particularly true of France where Lyon Mother Nature has provided the most perfect means of observing a great swathe of Vienne the country and as we meander along the scenic Rhone we will explore one of her FRANCE Abbaye RHONE Viviers Saint Andre loveliest corners. The Rhone, dubbed the “River of Angels” by Robert Louis Grignan Ardeche Gorges Orange Stevenson, offers a passage through history past great architectural treasures, Uzes Chateauneuf du Pape through some truly wonderful scenery and an ever-changing countryside dotted Pont du Gard Avignon Arles Nice with cypress, umbrella pine and vines. Marseille THE RHONE Our programme combines excursions ashore to nearby towns and sites as well DELTA as time at leisure, so you can truly relax and experience all that the region has to offer. There will be the opportunity to explore France’s gastronomic capital Lyon and visit Avignon, the great City of Popes which boasts a number of splendid museums, churches and palaces. We will also discover some of the many impressive Roman sites including the amphitheatre at Arles, the Roman theatre of Orange and the magnificent Pont du Gard. But, no trip to Provence would be complete without visiting the surrounding countryside and we will visit the Ardeche Gorges as well as some of the surrounding hillside villages. -
Sirba-Ayiddishemame-Ang-2019-Compressed.Pdf
S I R B A O C T E T A Y I D D I S H E M A M E S I R B A O C T E T A Yiddishe Mame Sirba Octet — www.sirbaoctet.com © Alix Laveau “This music has always been part of The vigour, intensity and my life. It reminds me of my originality of the Sirba Octet’s mother and of family gatherings arrangements bring to life these A when my grandmother and my familiar Eastern European tunes – aunts would beg my father and I to a body of music characterized by play the Yiddish tunes they grew up the wanderings of a whole with. We had no sheet music for population, in which sentiment and Y I D these pieces so they would hum the creative flair are bound together. melody and we would improvise on guitar and violin. I wanted to share FROM ORAL TRADITION TO these moments of joy and NOTES ON A STAVE reciprocity with the audience, D I S moments where rhythms amidst The show’s simple staging and the music and dancing forged acoustic setup allows each of the bonds of love between us.” eight instruments to shine. Strings, Richard Schmoucler, artistic clarinet, piano and cymbalum H E director (translated from the harness the rich tones and subtle original French) variations, effortlessly marrying folk with classical chamber music. THE TZIGANE SPIRIT AND M A YIDDISH SOUL This distinguished ensemble, made up of six members of the Orchestre Yiddish and tzigane communities de Paris, an internationally have produced lively and highly acclaimed pianist and a cimbalom M E sophisticated music which player from one of the greatest captured the imagination of music schools in Moldova, composers such as Bloch, Ravel possesses an incredible on-stage and even Bartók.