Book contents
- Ancient Theatre and Performance Culture around the Black Sea
- Frontispiece
- Ancient Theatre and Performance Culture around the Black Sea
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Abbreviations
- Map
- Part I Approaches
- Part II Places
- Part III Plays
- Part IV Performative Presences
- 16 Music and Performance among Greeks and Scythians
- 17 A New Mask and Musical Instruments from the Eastern Bosporus
- 18 The Cult of Dionysus in Ancient Georgia
- 19 Paratheatrical Performances in the Bosporan Kingdom
- 20 Historiography and Theatre: The Tragedy of Scythian King Skyles
- 21 Life Trajectories: Iphigenia, Helen and Achilles on the Black Sea
- Epilogue: Dancing around the Black Sea: Xenophon, Pseudo-Scymnus and Lucian’s Bacchants
- References
- Black Sea Index
18 - The Cult of Dionysus in Ancient Georgia
from Part IV - Performative Presences
Published online by Cambridge University Press: 12 November 2019
- Ancient Theatre and Performance Culture around the Black Sea
- Frontispiece
- Ancient Theatre and Performance Culture around the Black Sea
- Copyright page
- Contents
- Figures
- Notes on Contributors
- Preface
- Abbreviations
- Map
- Part I Approaches
- Part II Places
- Part III Plays
- Part IV Performative Presences
- 16 Music and Performance among Greeks and Scythians
- 17 A New Mask and Musical Instruments from the Eastern Bosporus
- 18 The Cult of Dionysus in Ancient Georgia
- 19 Paratheatrical Performances in the Bosporan Kingdom
- 20 Historiography and Theatre: The Tragedy of Scythian King Skyles
- 21 Life Trajectories: Iphigenia, Helen and Achilles on the Black Sea
- Epilogue: Dancing around the Black Sea: Xenophon, Pseudo-Scymnus and Lucian’s Bacchants
- References
- Black Sea Index
Summary
During thirteen years of excavations at Pichvnari on the Black Sea, the Anglo-Georgian Expedition found enough material to fill a museum (in Batumi) which opened in 2014. The Dionysian concept certainly existed in Pichvnari, if only in the name of a real person who lived there some twenty-six centuries ago, one Dionysios Leodamantos (Dionysios son of Leodamas), inscribed on an Attic black-gloss cup that was deliberately broken during a ritual feast at a grave. The tradition of making toasts to the dead and of pouring wine on the grave is still performed in Georgia on Remembrance Day (which falls on Easter Monday). The discovery of the inscribed cup tends to confirm the suggestion made by Amiran Kakhidze that an ethnically Greek population lived and died in Pichvnari.
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- Information
- Ancient Theatre and Performance Culture Around the Black Sea , pp. 373 - 399Publisher: Cambridge University PressPrint publication year: 2019