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The Cambridge Companion to Greek Comedy
  • The Cambridge Companion to Greek Comedy
  • Edited by Martin Revermann
  • Published online: 05 June 2014
  • Print publication: 12 June 2014
  • View description
    Greek comedy flourished in the fifth and fourth centuries BC, both in and beyond Athens. Aristophanes and Menander are the best-known writers whose work is in part extant, but many other dramatists are known from surviving fragments of their plays. This sophisticated but accessible introduction explores the genre as a whole, integrating literary questions (such as characterisation, dramatic technique or diction) with contextual ones (for example audience response, festival context, interface with ritual or political frames). In addition, it also discusses relevant historical issues (political, socio-economic and legal) as well as the artistic and archaeological evidence. The result provides a unique panorama of this challenging area of Greek literature which will be of help to students at all levels and from a variety of disciplines but will also provide stimulus for further research.
  • The competence of theatre audiences in fifth- and fourth-century Athens*
  • Martin Revermann
  • Journal: The Journal of Hellenic Studies / Volume 126 / November 2006
  • Published online by Cambridge University Press: 23 February 2012, pp. 99-124
  • Print publication: November 2006
  • View abstract

    After dismissing various possible approaches to the question of audience competence in fifth- and fourth-century Athens, this article proposes to tackle this important and notorious problem with a novel strategy that is not ‘top-down’ but ‘bottom-up’, starting with spectators rather than plays and focusing on the bottom-line of expertise which can be taken to be shared by the majority of audience members. An umbrella-notion of ‘theatrical competence’ is established before two central characteristics of drama performed in Athens are exploited: the participation of spectators in the citizen-chorus at the Great Dionysia, and the implications for the competence issue of frequent exposure to an art form which is as formally conservative as preserved Attic drama. What emerges is a model of stratified decoding by spectators (élite and non-élite) who share a considerable level of theatrical competence. In a final step, this model is applied to a number of case studies taken from fifth-century comedy.

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