Read:
*A. M. Nagler, A Source Book in Theatrical History, pp. 17-28, recommended, 29-36.
* Odai Johnson, "Unspeakable Histories: Terror, Spectacle, and Genocidal Memory" in Modern Language Quarterly 70:1 (March 2009)
*Plautus, from The Comedies: The Captives (200-190 BCE)
For an interesting contemporary take on the "curse tablet" issue in Johnson, see this link and this link. Relevant?
Recommended: Robert Beacham, Spectacle Entertainments in Early Rome, chapter 1 (OCRA)
Also recommended for more context:
“The Uncompleted Theatres of Rome” by Constance Campbell. In Theatre Journal 55.1, 2003.
Reading response: pick from the following:
1. What is the situation of "sons" and "slaves" as to duty and honor in The Captives? To whom or to what does one owe allegiance?
3. What does Odai Johnson mean by "excavating" a "historical stratigraphy"? What are the "layers" he mentions?
4. For Johnson, why is being mute not the same as being absent and what does Johnson suggest as a means to listen to silence?
Statue of Caesar Augustus in central niche overlooking the theatre at Orange, France (below)
Model of Marcellus Theatre, Rome
Scenae Frons
Roman Theatre Links:
*Theatres in Rome
*Roman theatres across the empire
*Liesure and Entertainment in Rome
*Roman Circus
*Gladiatorial Games
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