By Rush Rehm
Is "space" a specific thing, a box, an abstraction, a metaphor, or a social build? This a lot is bound: house is an element and parcel of the theater, of what it's and the way it really works. within the Play of house, famous classicist-director Rush Rehm deals a strikingly unique method of the spatial parameters of Greek tragedy as played within the open-air theater of Dionysus. Emphasizing the interaction among average position and fictional atmosphere, among the realm noticeable to the viewers and that evoked by means of person tragedies, Rehm argues for an ecology of the traditional theater, person who "nests" fifth-century theatrical area inside different major social, political, and spiritual areas of Athens. Drawing at the paintings of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a variety of disciplines--classics, theater experiences, cognitive psychology, archaeology and architectural historical past, cultural stories, and function theory--to study the phenomenology of area and its adjustments within the performs of Aeschylus, Sophocles, and Euripides. His dialogue of Athenian theatrical and spatial perform demanding situations the modern view that area represents a "text" to be learn, or constitutes a domain of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on particular tragedies discover the spatial dynamics of homecoming ("space for returns"); the adversarial constraints of exile ("eremetic house" without common community); the facility of our bodies in extremis to rework their theatrical surroundings ("space and the body"); the portrayal of characters at the margin ("space and the other"); and the tragic interactions of house and temporality ("space, time, and memory"). An appendix surveys pre-Socratic suggestion on house and movement, similar principles of Plato and Aristotle, and, as pertinent, later perspectives on house built through Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this publication yields wealthy new insights into our oldest surviving drama.
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Additional info for The Play of Space: Spatial Transformation in Greek Tragedy
By serving as a heterotopia in Foucault’s sense, the theater stands sufﬁciently outside those ideological forces to offer a critical perspective on them. Athena, however, offers no such perspective, demanding that her “patronized” Theseus stand by while the seeds take root of another unjust war. 180 Speaking down from above, Athena teaches precisely the opposite, and the young Theseus (emphasized at 190, 283, 580) must learn the lesson. 181 The cycle of violence continues, in no small part because it receives ofﬁcial sanction.
With Theseus’ arrival from Athens, however, civic demands replace ritual concerns, and female thr¯enoi give way to political logoi. 132 When Theseus rejects the Argives’ plea for help, Aethra enters the fray, challenging her son to uphold Panhellenic norms by leading Athens against Thebes (297–331). 133 The poignancy of mourning and the simple eloquence of supplication yield to political discourse with a strong ﬁfth-century accent. 135 The Chorus performs one of the shortest odes in tragedy (only sixteen lines), during which time Theseus meets with the Athenian assembly, persuades the city to vote for recovering the dead bodies, and returns with Adrastus to Eleusis.
106 For Lewin, hodological space is space that matters, paths that INTRODUCTION 19 tie people together or distances that keep them apart—put simply, direction to and from. 108 Speaking broadly, Greek tragedy prefers Lewin’s hodological connectedness but sees it (and not Proustian separation) as the source of potential tragedy. Finally, in a short essay entitled “Of Other Spaces,” Michel Foucault introduces the useful idea of a heterotopia—a space freed from the normal constraints of time, either by accumulating it (like a cemetery or museum) or by liberating it, “time in the mode of festival” (ﬂeeting, transitory, precarious).
The Play of Space: Spatial Transformation in Greek Tragedy by Rush Rehm