Teatro grego e teatro romano

Transformações dos espaços cênicos.

1. Teatro grego e teatro romano:
espaços e recursos de
encenação
Universidade Federal de Pelotas
Material para fins didáticos
Professora Taís Ferreira

2. O Teatro de Dionísio

3. Reconstrução hipotética do mais antigo
teatro com seus bancos de madeira

4. Reconstrução hipotética da mais antiga skene
com seus bancos curvados de madeira, no centro
da orquestra a tímele (altar sagrado)

5. Maior elaboração da skene, ainda com a
tímele

6. Reconstrução do palco de Licurgo

7. Reconstrução do palco helenístico

8. Reconstrução do palco romano

9. Vista superior do espaço
(período romano)

10. Corte arquitetônico do Odeon de Péricles

11. Vista interior do Odeon de Péricles

12. Os Balcãs

14. Plano da Agora
2nd Century A.D. by J. Travlos 1949

15. Mapa de Atenas

16. O Teatro de Epidaurus

17. Vista da cavea superior

18. Vista do teatro por detrás da skene

19. Vista do theatron (lugar de onde se vê)

20. Detalhes da skene

21. O palco grego cômico
•Numerous vases found in southern Italy dating from around 400 – 325 BC depict comic scenes. The
subject matter of the comedies appears to have been either the parodying of myths (especially the way
in which myths were presented in Athenian tragedy) or depictions of comic scenes from everyday life.
The characters depicted on the earlier vases (c.400 – c.365 BC, mostly from Tarentum) are usually
grotesque, wearing padded costumes and tights, masks, cloaks, tunics, and armour, and the males are
invariably outfitted with a prominent phallus. Previously thought to be a local form of drama, recent
scholarship has shown that the vases probably depict Athenian ('Old') comedy, such as that by
Aristophanes and his contemporaries, and that certain vases even require a knowledge of specific
plays by Aristophanes (see Taplin 1993). During the 360s BC, the vases began to depict the kind of
'social' comedy that then dominated the Athenian stage.
•The vases (formerly called 'phlyax' vases) show a raised platform, varying in height, resting on wooden
posts, with a decorated rear wall made from panels of wood or canvas. This backdrop often had a
doorway opening onto the stage through which the actors would have entered, and occasionally had
window openings that may have been employed for comic purposes. The space behind the backdrop
was probably used as a tiring area, and also to store stage properties. A short flight of steps, varying in
number from 6-8, stood at the front of the platform, suggesting a stage height of approximately 1
metre. Draperies were often hung from the edge of the stage to the ground to mask the wooden posts
on which the platform was stood. The vases indicate that both the stage and the ground around it was
used for performance, as many depict actors climbing the stairs leading to the platform or stood apart
from the stage looking on.
•The stages sometimes had a small roof protruding from the rear wall sheltering the stage, held aloft by
wooden supports attached to the posts of the main structure. These supports were usually decorated,
often to resemble one of the classical orders. Other stage properties depicted on the vases, include
small porches and alters, baskets, chests, tables, weapons and chairs. It is undetermined whether the
stages were permanent or whether they were temporary and the property of travelling troupes. The
stages appear very simple in structure implying that they were capable of being dismantled and
transported. However, some scholars have argued that the stages were depicted in a simplified
manner because of the limited space available to the vase painters.
•Further reading: Taplin, Oliver Comic Angels (Oxford: Clarendon Press, 1993)

22. Vista frontal

23. Vista posterior

24. Vista lateral

25. O Teatro de Pompéia

26. O Teatro de Pompéia : o primeiro
teatro permanente romano, em 55 a.C

27. Vista da frons skene

28. Vista do Templo de Vênus

29. Corte arquitetônico

30. Créditos das imagens:
•Images copyright the University of Warwick. Created by
the THEATRON Consortium.
•The 3D reconstruction of the Theatre of Pompey below,
created by Martin Blazeby at the 3D Visualisation Centre
, the University of Warwick, is based on the drawings of
the Italian archaeologist and architect Luigi Canina
(1795-1856).
•Imagens disponíveis em:
•http://www.didaskalia.net/studyarea/visual_resources/visualresources.html
•http://www.kvl.cch.kcl.ac.uk/THEATRON/