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This chapter explores how, despite their common interest in reenactment, Pindar and Aeschylus treat space in different ways. Drawing on recent theoretical advances in performance studies, it is shown how the appearance of ghosts in the works of Pindar and Aeschylus allows us to better appreciate how drama creates a firmer spatial matrix than lyric performance.
This chapter explores how the dynamics of Pindar’s and Aeschylus’ embedded speeches are refracted through their exploration of crafted tools as metaphors for the transfer of voice from one performer to another.
This chapter demonstrates how Pindar’s and Aeschylus’ unusual, yet shared, approach to embedded speech (oratio recta) reflects a common interest in performance as reenactment. It is argued that their distinctive mode of duplicating voices through the “meta-language” of embedded speech stands as an emblem of choral mimesis more broadly.
What would Pindar and Aeschylus have talked about had they met at some point during their overlapping poetic careers? How do we map the space shared by these two fifth-century choral poets? In the first book-length comparative study of Pindar and Aeschylus in over six decades, Anna S. Uhlig pushes back against the prevailing tendency to privilege interpretive frames that highlight the differences in their works. Instead, she adopts a more inclusive category of choral performance, one in which both poets are shown to be grappling to understand how the vivid here and now of their compositions are in fact a reenactment of voices and bodies from elsewhere. Pairing close readings of the ancient texts with insights from modern performance studies, Uhlig offers a novel perspective on the 'song culture' of early fifth-century BC Greece.
This book offers a series of studies of the idea and practice of reperformance as it affects ancient lyric poetry and drama. Special attention is paid to the range of phenomena which fall under the heading 'reperformance', to how poets use both the reality and the 'imaginary' of reperformance to create a deep temporal sense in their work and to how audiences use their knowledge of reperformance conditions to interpret what they see and hear. The studies range in scope from Pindar and fifth-century tragedy and comedy to the choral performances and reconstructions of the Imperial Age. All chapters are informed by recent developments in performance studies, and all Greek and Latin is translated.