The question of whether the origins of "drama" (scripted performance) belongs in Greece is debated vis a vis Egypt where The Triumph of Horus dates from around 3200 BCE. Was the Triumph of Horus drama or ritual, and why parse them so completely? In this class we will explore The Triumph of Horus and modes of theatricality in ancient Egypt.
Much of what we know points to theatre, or at least "theatricality" (if such a word is not anachronistic). A papyrus account written by Ikhernofret, a performer of the 19th century BCE, was found at Luxor, the ancient Thebes, and provides most of what scholars know of the ritual drama.
Backstory: Osiris is the Egyptian god of the underworld who married his sister, Isis, and is ruler of Egypt. Osiris's brother, Set, is jealous of his power. Fratricide ensues. Osirus's limbs are scattered. The play concerns Osirus's death and resurrection. Isis and Osirus have a son, Horus. The play is about what happens ...
Read it here:
*The Triumph of Horus
*Also read: Ronald J. Leprohon, "Ritual Drama in Ancient Egypt" in The Origins of Theater in Ancient Greece and Beyond, ed. Erik Csapo and Margaret C. Miller. Cambridge University Press, 2007: 259-292
*Also read: Jan Assmann, "Sacramental Explanation" in Death and Salvation in Ancient Egypt, 349-368.
Recommended (and on OCRA): Inge Nielsen, Cultic Theatre and Ritual Drama, "Egypt," pages 9-38.
Reading response:
What do you make of the last paragraph of the Leprohon reading? What does it make you think about vis a vis gods and audiences?
What, if anything, surprised you from the Triumph of Horus? What kind of performance theory might arise from this. Don't be afraid -- obviously you are not an Egyptologist -- just lift out any aspect and let an idea spark.
Make up your own response on any topic of your choosing that strikes you from the reading.
GROUP TWO TO PERFORM
Further study:
Link of interest
(think back on performance in relationship to buildings when reading about curse tablets in ancient Rome).
No comments:
Post a Comment