Abstract: In ancient Greek tragedy, the physical pain of male bodies is often depicted. Nonetheless, there are only a few examples of female bodies in pain. Tragic heroines rarely or never refer to their somatic anguish. In the Euripidean corpus, this pain is narrated

Resumen: En la tragedia griega antigua, a menudo se representa el dolor físico de los cuerpos masculinos. Sin embargo, hay solo unos pocos ejemplos de cuerpos femeninos que sufren. Incluso en Eurípides, las heroínas trágicas rara vez o nunca se refieren a su angustia

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Resumen: En todas las tragedias el movimiento en escena es importante para su interpretación. En Helena adquiere una relevancia especial, entre otras causas, porque en esta obra es fundamental la oposición apariencia / realidad. Mostraremos algunos pasajes en los que

Abstract: In all tragedies the movement on stage is important for their interpretation. In Helen it acquires a special relevance, among other causes, because in this work the opposition appearance / reality is fundamental. We will show some passages in which gestures a

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Abstract: The scope of the Athenian wedding somewhat ambiguous—it is difficult for modern scholars of Athenian ritual, history, and gender studies to agree exactly what constituted the wedding from beginning to end. This article analyzes the gesture, speech, and costum

Resumen: El alcance de la boda ateniense es en algún punto ambiguo. Resulta difícil para los estudiosos modernos de los rituales atenienses, la historia y los estudios de género llegar a un acuerdo exacto sobre lo que constituía la boda desde el principio hasta el fin

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Resumen: En la rhêsis introductoria de Ifigenia entre los tauros, la protagonista detalla la historia de su sacrificio en Áulide, la razón de su presencia entre los tauros y su función de sacerdotisa. A continuación, relata el sueño que ha tenido y por el cual in

Abstract: In the introductory rhesis of Iphigenia in Tauris, she details the story of her sacrifice at Aulis, the reason for her presence among the Taurians and her function as priestess. Then she relates her dream by which she interprets that her brother Orestes

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Abstract: What kind of gestures were used in ancient comedy? Iconography gives us an idea of the body and costume of the comic actor. But beyond the fixity of images, how were gestures successively performed on stage?To answer this question, we need to consider the mat

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Resumen: Dos fragmentos de comedia media, correspondientes a obras perdidas del poeta Anaxándrides (el fr. 40 K.-A. de la obra Ciudades y el fr. 41 K.-A. de Protesilao), aluden a acercamientos diplomáticos fallidos con los egipcios. En este trabajo se examinan filológ

Abstract: Two fragments of Middle Comedy, corresponding to lost works of the poet Anaxandrides (fr. 40 K.-A. of his play Cities and fr. 41 K.-A. of Protesilaus), allude to failed diplomatic approaches with the Egyptians. This paper examines philologically the preserved

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Abstract: This paper analyzes and aims to highlight the gestures and bodily strategies of the tragic actor as the scholia describe them to the reader. According to them, tragic actors used strategies and patterns that not only had semantic valences but also brought int

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Abstract: In book 5 of his novel, Achilles Tatius describes at length a painting that represents the myth of Procne, Philomela and Tereus. A connection with Sophocles’ Tereus, the most influential treatment of the myth in the antiquity, has been proposed by many schola

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Resumo: O compositor e dramaturgo Richard Wagner (1813-1883) empreendeu um gigantesco projeto de recepção da dramaturgia no teatro grego antigo. Tomando por base o espaço cênico em que as peças de Ésquilo, Sófocles e Eurípides apresentaram em seus textos, Wagner prop

Abstract: Composer and playwright Richard Wagner (1813-1883) undertook a gigantic project to receive the dramaturgy of ancient Greek theater. Taking as a basis the stage space in which the plays of Aeschylus, Sophocles and Euripides presented their texts, Wagner propos

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