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Theatre of ancient RomeFrom Wikipedia, the free encyclopedia

Roman mosaic depicting actors and anaulosplayer (House of the Tragic Poet,Pompeii)

The theatre of ancient Romewas a diverse and interesting art form, ranging fromfestivalperformances

ofstreet theatreandacroatics, to the staging ofPlautus!s roadly appealing situation comedies, to

thehigh"style, verally elaorate tragedies of #eneca$ %lthough Rome had a native tradition of performance,

the Helleni&ationofRoman culturein the 'rd century had a profound and energi&ing effect on Roman

theatre and encouraged the development of *atin literatureof the highest +uality for the stage$

The Roman historian *ivywrote that the Romans first eperienced theatre in the -th century , with a

performance y.truscanactors$/01eacham argues that they had een familiar with 2pre"theatrical

practices2 for some time efore that recorded contact$/31Roman dramaegan in 3-4 with the plays

of*ivius %ndronicus$/'15t remained popular throughout *ate %nti+uity, y the mid -th century %6, 043 out of

078 ludi publicieing dedicated to theatre, esides a consideraly lower numer ofgladiatorand chariot

racingevents$

Roman drama/edit1

Following the epansion of the Roman Repulic(94:;37 ) into several

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marks the eginning of regular Roman drama$ /81From the eginning of the Roman empire, however, interest

in full"length drama declined in favour of a roader variety of theatrical entertainments$ /71

The first important works of Roman literaturewere the tragediesandcomediesthat *ivius %ndronicuswrote

from 3-4 $

/'1

Five years later, historians know of three early

tragediansCDuintus .nnius,=arcus Pacuviusand *ucius %ccius$/041From the time of the empire, the work

of two tragedians survivesCone is an unknown author, while the other is the#toic philosopher#eneca$

/031?ine of #eneca!s tragedies survive, all of which are fabula crepidata(tragedies adapted from hisPhaedra,for eample, was ased on .uripides!Hippolytus$/0'1Historians do not know who

wrote the only etanteample of the fabula praetexta(tragedies ased on Roman suAects),Octavia, ut in

former times it was mistakenly attriuted to #eneca due to his appearance as a characterin the tragedy$/031

#tock characters in Roman comedy/edit1

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%n ivory statuette of a Roman actor of tragedy, 0st century$

#tock charactersin Roman comedy includeB

The adulescenswas the hero, who is young, rich, love"struck and none too rave$ He tends to

emoan his fate and re+uires ackup$ %nother character often has to take action on his ehalf$ His

father is often the senexor old man, whom he fears, ut does not respect$ He wears a dark wig and his

clothes are usually crimson$

The senexhas several incarnations$ %s the father he is either too strict or too soft> either one he

does out of love for his son$ %s the lover he emarrasses his son, his slave, and his wife$ He tends to

e passionately in love with the same woman as his son, a woman who is much too young for

the senex$ He never gets the girl and is often dragged off y his irate wife$ #ometimes he is a friend of

the family who helps the adulescens$ He is often a miser, who wears a straight undergarment with long

douled sleeves$ 5t is white and he sometimes carries a staff$

The lenoruns the rothel$ The love interest of the adulescensmay e owned y the lenoand work

at his rothel, so that the adulescensis often forced to deal with him$ The lenois unaashedly amoral

and only interested in money$ He dresses in a tunic and mantel, and is often ald and carries a

moneyag$

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The miles gloriosus, literally raggart soldier, is a character that is especially familiar today$/citation

needed1He loves himself more than anything else and sees himself as handsome and rave, while in

reality he is very stupid, cowardly, and gullile$ He may e interested in the same girl as

the adulescens$ He wears a tunic with long sleeves and has curly hair$

Theparasitusor parasite lives only for himself$ He is often seen egging meals or eing refused

them$ He lies for his own gain$ He dresses in a long, lack or gray garment with long, douled sleeves$

The servi(slaves) take up aout half of the cast and often have the most monologues$They are not

the toilers typical of a real Roman home$ The servus callidusor clever slave is always talkative, ut his

other traits vary$ =ost of the time he is loyal, more so to the adulescensthan the senex$ He rings

tricks and comedy to the play, and tends to drive the plot$ He is often the one who finds the truth out at

the end of the play$ He can e identified y his tendency to use alliteration and meter in his speech$

The serviwear tunics and hold or carry scarves$

The ancillais a maid or nurse of no particular age$ #he is a minor character used to move the plot

y presenting information or helping to develop another character$ #he is a tool of her mistress and

may e used as a messenger$

The matrona(mother), mulier(woman), or uxor(wife) is shrewd$ #he loves her children, ut is

temperamental towards her husand$ #he does not have to e a devoted wife, ut sometimes is$ #he

wears a long garment with flowing sleeves and a mantel$

The meretrix(prostitute) is either mercenary or devoted$ The first type is older or more eperienced

and has seen a lot$ The second type is truly in love with the adulescens$ oth are very attractive with a

comple hairdo and outfit, which is yellow$ #he also has a mantel$

The virgo(young maiden) is the love interest of the adulescens, ut does not get much stage time$

#he is eautiful and virtuous with little personality$ #he is treated as a pri&e$

#tage and Roman Theatre/edit1

The Roman theatre was laid out like a the

the latest reference to the Romans! uilding a new theater was in 07 $$ The large stone theatres seated

tens of thousands of Romans$ There was no front curtain nor were performances done in the orchestra pit

(unlike ushers

would direct the patrons all through out the performance$ /citation needed1

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%ctors/edit1

Roman actors had ad reputations and their morals challenged even the decadence of Roman society$

Their performances could e lewd, highly seual and offensive, and they sometimes even appeared naked

on stage and engaged in seual acts$/citation needed1

They could also e highly critical of the political status +uo$/citation needed1%s epected, some emperors were as critical of them and took certain measures in an attempt to

counteract their influenceB .mperor Eulian the %postate forade the pagan Roman priests from attending

theatrical performances to avoid giving the performances respectaility, and the more enlightened .mperor

Tierius would not allow people of the stage to have any contact with the upper classes$ =ost Roman plays

were whimsical, more mimes and pantomimes than drama> the 2classics2 were in the minority$ 5n the early

Roman Repulic (efore the emperors emerged after Eulius aesar), women did not enter the profession> it

was considered inappropriate for them$ However, in the 5mperial period, a numer of women ecame

famous actresses, and earned reputations as infamous as their male counterparts$ 5ndeed, one of the

.mperor ?eros concuines, %cte, was an actress$ %ccording to tradition, %cte was converted y #t Paul$

/citation needed1Following her conversion, she was anished y ?ero, ut interestingly enough, after his

ignominious death she was the only one who would prepare his ody for a decent urial$ /citation needed1Gver the

years, a numer of actors ecame +uite influential, counting among their friends men of high standing within

Roman society$ #ome gifted theatrical artists such as Roscius, in comedy, and %esopus, in tragedy, earned

considerale reputations and were fted y the Romans$ /citation needed15ndeed, the hristian #t

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Roman Comedy

Roman ra#edy

Roman $ramatic heory

Roman heatre $esi#n

Roman %ctors

heatre at the &nd of the &mpire

Roman History

Rome ' in ()* +C was a town dominated by &truria, -orth of Rome.n )0/

+C, the &truscan from &truria ruler was expelled, and Rome became arepublic 2ust as %thens became a democracy

.n the 3thCentury +C, Rome expanded, and by 45) +C controlled the

.talian peninsula, then Sicily, then se"eral Gree6 territories

+y 430 +C, Gree6 heatre was familiar to Romans, translated into 7atin,

and brou#ht to Rome

he be#innin#s of Roman theatre recorded: the first record of drama at the

7udi Romani Roman !esti"al or Roman Games

Rome became an empire after 8ulius Caesar, 4( +C

Republic ' from )0/94( +C&mpire ' from 4( +C93(5 %$

+y *3) %$, there were 1() festi"als a year, 101 de"oted to theatre.n ))+C, the first stone theatre was built in Rome by 8ulius Caesar

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Roman Theatre

+orrowed Gree6 ideas and impro"ed on them

7ess philosophical

&ncompassed more than drama : acrobatics, #ladiators, 2u##lers, athletics,chariots races, naumachiasea battles, boxin#, "enationes animal fi#hts

&ntertainment tended to be #randiose, sentimental, di"ersionary

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%ctors ; performers were called

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%ctin# troupes perhaps se"eral a day put on theatre e"ents

Forms of Roman Theatre

Roman Drama' there are only about 400 years that are important:

7i"ius %ndronicus ' 430 ' 403 +C ' wrote, translated, or adapted comedies andtra#edies, the first important wor6s in 7atin 7ittle is 6nown, but he seems to ha"e

been best at tra#edy

Gnaeus -ae"ius ' 4(09401 +C excelled at comedy, but wrote both

+oth helped to

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ery popular

Pot of Gold, The Menaechmi, Braggart Warrior99 probably between40)91D3 +C

%ll based on Gree6 -ew Comedies, probably, none of which hassur"i"ed

%dded Roman allusions, 7atin dialo#, "aried poetic meters, witty2o6es

Some techni>ues: stychomythia' dialo# with short lines, li6e a tennismatch

Slapstic6Son#s

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Publius Terenius Afer [Terence1/) or 1D)91)/ +C

+orn in Cartha#e, came to Rome as a boy sla"e, educated and freed

Six plays, all of which sur"i"eThe Brothers, Mother-in-Law, etc

?ore complex plots ' combined stories from Gree6 ori#inalsCharacter and double9plots were his forte ' contrasts in human

beha"ior7ess boisterous than @lautus, less episodic, more ele#ant lan#ua#e

Ased Gree6 characters7ess popular than @lautus

Characteristics of Roman Comedy:

Chorus was abandoned-o act or scene di"isions

Son#s @lautus ' a"era#e of three son#s, 4;* of the lines with musicerence ' no son#s, but music with half of the dialo#

&"eryday domestic affairs%ction placed in the street

Roman Dramatic Theory:

orace' 5)9D +C ' a theoretician 'Ars Poetica !The Art of Poetry"

7ittle influence in his time interest at the time was in theatre not drama, but

much influence in the Renaissance

.nterpreted %ristotleIsPoetics, but less theoretical and more practice9oriented

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?entions unities !of time, #lace, and action", #enre separation, lan#ua#e use

in tra#edy and comedy

Roman TheatreDesi!n " #uildin!s

!irst permanent Roman theatre built )3 %$ 100 years after the last

sur"i"in# comedySo permanent structures, li6e Greece, came from periods after si#nificant

writin#?ore that 100 permanent theatre structures by ))0 %$

General characteristics:+uilt on le"el #round with stadium9style seatin# audience raised

$%enebecomes scaena' 2oined with audience to form one architectural unitParadoibecome &omitoriuminto orchestra and audience'rchestrabecomes half9circleSta#e raised to fi"e feet

Sta#es were lar#e ' 40930 feet deep, 1009*00 feet lon#, could seat 1091),000people

*9) doors in rear wall and at least one in the win#s

scaena frons' faJade of the sta#e house ' had columns, niches, porticoes,statues ' paintedsta#e was co"ered with a roof

dressin# rooms in side win#strap doors were common

awnin# o"er the audience to protect them from the sun,durin# the empire around (D +C, coolin# system ' air blowin# o"er streams

of waterarea in from of the scaenacalled the#ros%eneproscenium

$%& 'ermanent theatres built durin! the em'ire(

Clic6 hereto learn more about Roman theatres

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Other )tructures:

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Circus *a+imus:

for chariot races ' 500 +C4000 feet lon#, 5)0 feet wide, 50,000spectators

rac6 to race 14 chariots at a timealso housed circus #ames, horse racin#, pri=e fi#htin#, wrestlin#, etc

Am'itheatres

!or #ladiatorial contests, wild animal fi#hts, and occasionally

naumachia sea battles!irst permanent one in 35 +C

he Colosseum ' D0 %$ ' three storeys, then 3 1)( feet tall 540feet lon# )1* feet wide )0,000 people

Had space with ele"ators below to brin# up animals, etc

Ased#eria%toi clic6 hereto see a mo"ie 99 you mustha"e Kuic6imeinstalledLL99 and this ta6es some time to load@erhaps curtains ' bac6 and fore#round

Spectacular effects:many performers Cicero tell us: 500 mules, *000 bowls

?echanical lifts for animalsraps

Some realistic, three9dimensional scenery

Go herefor photos of Roman ampitheatres

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Roman Actors

Referred to as histriones and mimes ' later primarily histriones

?ostly male ' women were in mimesRocius ' famous, raised to nobility

?imes, howe"er, were considered inferior perhaps they were sla"es

We 6now little about the si=e of troupes.n the 1stcentury +C, a

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Gree6 or roman costumes

?uch music

http://novaonline.nvcc.edu/eli/spd1!et/roman.htm

ROMAN COMEDY: Plautus and Terence

The Greek world came to fruition sometime in the 7th c. BC, and was still culturallyactive throughout the period in which the Roman Empire flourished. By !! BCGreek culture had su"tly shifted over to what would later "e called #ellenistic, whichrefers to the transplanting of Greek ideas and techni$ues to all parts of the thenknown world, "oth East and %est. The &ews of 'alestine, the populace of Egypt, the(yrians, )rmenians and the Romans in their turn were e*posed to the indeli"leinfluence of Greek thought, +ust as the )ra"s of the 7 c. ) were to "e influenced inthe same way. -t was this fermentative $uality in the Greek mind which proved soattractive to less cultivated peoples, and although every"ody "enefitted, no"ody wasever the same again.

By !! BC the Romans "egan to seriously sense the presence of Greek literature.

Centuries earlier they had received an altered Greek alpha"et from the Etruscans incentral -taly, now they "ecame "asically literate and ready to read. uch of thewriting which resulted from this first #elleni/ing influ* was lost, and the little weknow of writers like )ccius, 'acuvius, Caecilius and 0ucilius comes from the$uotations of words, single lines, and only occasionally coherent paragraphs "y thelate Roman grammarians. %e would have a similar idea of the work of (hakespeare if

we assem"led all the single1line $uotations from a large English dictionary.

'lautus is the earliest writer to survive in a full form. Born around the middle of the rd c. BC,. he lived on to 234 BC. #e was a man of the people, a carpenter in early life

who wrote plays after constructing stage scenery for a living. Born in the countryside,

he said he had three hearts, which pro"a"ly means he was a"le to speak 0atin, hisnative 5scan dialect, and Greek. 6rom the Greek ew Comedy of the precedingcentury 8enander is our surviving e*amplar of this genre, as distinct from older

)ristophanic satire1comedy9 'lautus drew heavily, adapting plays, scenes, names andthe style of the Greeks. o Romans are portrayed in his plays as Romans, pro"a"ly

"ecause of a fear of satiri/ing the stately and self1conscious citi/en "ody. Butthroughout all of the twenty plays we have 8he wrote more than a hundred9 we findinterlarded a rough and wholesome, if often slightly o"scene, Roman sense of humor,and it is this characteristic, rather than the refined enandran light1comedy, whichensured 'lautus: success.

The te*ts we have were touched up at least in orthography in the time of Cicero, andwere used as re$uired reading in the Roman school system for centuries. 'lautus:

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voca"ulary is huge, he uses strange and rare e*pressions, when pressed invents hisown punning coinages, and shows an interesting side of the Roman character whichdisappears in the more self1conscious )ugustan )ge.

The plays are really musical comedies, with a"out a third of the material in sung

or canticaform, with music which has virtually disappeared. ) few manuscriptmarkings purport to outline the melody1line, "ut interpretation is difficult andrecreation of the sound of his music is not really possi"le. %hat would a future agethink a"out o/art:s on Giovanni if we had only the li"retto to work with; 5rahler:s 0ied von der Erde;

espite these losses, 'lautus has turned out to "e incredi"ly popular through theages. Rediscovered in the Renaissance, 'lautine plots furnished the "asis for over fivehundred comedies in every European language, as a detailed study "yReinhardstoettner 8l37

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England, initially having trou"le with Tom &ones and Tristram (handy, $uitenaturally preferred Terence to his countrified and at times slightly gross compatriot.

The odd things a"out Roman Comedy, is that, although it is Greek in origin, in plot,and in many details of its internal operation, it looks thoroughly Roman when one

compares it to the more heavily #elleni/ed literature of the )ugustan )ge. 'lautusand 'etronius are still our "est glimpse of the little people of the Roman world, howthey thought and some of the things that they were lia"le to say.

Return to0atin )uthor inde*

%illiam #arris

'rof. Em. iddle"ury College

www.middle"ury.edu>?harris

http://communit".middle#ur".edu/$harris/%atin&uthors/Roman'omed".html

'lassical (rama and )ociet"

'ourse(escription

'lass *rading and Pro+ects 'hapters

)"lla#us )lides

A Guide to Writing in History and Classics

S&C.E- 3: RE?%- $R%?%

Chapter 13: Roman Comedy, @art 1 @lautus

. .ntroduction: &arly Roman 7iterary $rama deri"ed from

the Gree6she turnin# point in Roman drama came in %,- #C., when a Gree69spea6in#

sla"e li"in# in Rome, /ivius Andronicus, translated HomerFs Odysseyinto 7atin%s it turned out, this was a watershed experience that inau#urated the Romans into

a century9lon# fascination with Hellenic culture .n more ways than one, thatmoment in history constitutes the inception of 7atin literature +ut who was this

7i"ius %ndronicus and why were his adaptations of Gree6 literature so si#nificantin the e"olution of Roman ci"ili=ation

% freed sla"e, we are told, 7i"ius %ndronicus ser"ed in the house of the 7i"ii, anoble family of Rome, from whom he too6 his name %s such, he probably came to

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Rome when he was still a child and, no doubt, #rew up bilin#ual, puttin# him in an

excellent position to brid#e Gree6 and 7atin ci"ili=ation +esides The Odyssey, hisadaptations included se"eral Gree6 tra#edies, mostly from ori#inals by Sophocles

and &uripides Ajax,Andromeda,Danae, Tereus, and also comedies adapted fromun6nown sources Gladiolus,Ludius

.tFs a fair >uestion to as6 why he did not write his own ori#inal wor6sBindeed, thesame could be posed for e"ery Roman playwri#ht whose wor6s sur"i"eBand the

answer must be that he considered it wasted effort to till a field when the worlddoled out free #rain .n other words, why ma6e a play when you can steal one .t

was an a#e when copyri#ht did not yet exist and it was considered neither ille#alnor immoral, or e"en inad"isable, to adapt anotherFs wor6

% more compellin# >uestion concernin# the ori#inality of Roman drama re"ol"es

around why the Roman public sou#ht out Gree6 drama so a"idly he answer tothat riddle lies, no doubt, in the nature of Gree6 drama itself he complex butcoherent plots of Gree6 tra#edy and comedy had no parallel in this a#e !or much

the same reason, the cinema of a few nations today commands most of the worldFsattention and, li6e Gree6 drama in anti>uity, has attracted a lar#e "iewership

outside its nati"e land

+ut plays written for the amusement of %thenians did not necessarily carry o"er to

other countries and cultures wholesale !illed as Gree6 comedies were with localreferences and all sorts of Hellenisms, many of them pro"ed incomprehensible, and

occasionally reprehensible, to other peoples hus, these plays had to under#o morethan translation to ma6e them wor6able in other "enues hey re>uired adaptation,

sometimes >uite a bit, and in the process Roman playwri#hts re9concei"ed Gree6drama, whether they intended to or notBodds are, they didBcreatin# alon# the

way some of the most effecti"e multicultural efforts e"er produced on the sta#e

hat Roman Comedy has sur"i"ed across time to our

day is really no surprise, then .t was, by definitionand from the "ery outset, a multicultural form of

drama desi#ned to blend different social contexts, ina way the Gree6 ori#inals on which it was based were

not hus, @lautusF wor6 has appeared on the modern+roadway sta#eBfor instance,A Funny Thing

Happened on the Way to the Forum, a musicaladapted from his playsBwhere ?enanderFs comedies

for all their subtle "irtues, brilliant characteri=ation and prescient humanity ne"erha"e

%n increasin# demand for drama after 430 +C& opened the way for new

opportunities to present drama in Rome 7i"ius %ndronicus had premiered his wor6at the central Roman festi"al, theLudi Romani

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other festi"als 2oined the theatre fray: the ludi Pleeii

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not his real name !or one, his own plays ne"er refer to him by this three9word

name, only parts of it: itus ?accius, ?accus, or 2ust @lautus !or another, this sortof tripartite name was a way of denotin# Roman aristocrats, wherein each part of

the name desi#nated particular informationBthe first name praenomen was thename #i"en a nobleman within his immediate family, the second name nomen

denoted hisgensor the lar#er family #roup he belon#ed to, and the thirdcognomen his clan or branch within thatgensBbut it is hi#hly unli6ely @lautus

was born into the upper classes, at least, to 2ud#e from his dramas and what littlewe are told about his life note Why, then, does he come down to us with such a

noble9soundin# name

he names themsel"es are oddBthere is, for instance, no

6nown ?accius clan of the @lautus familyBinstead, allthree appear to be 2o6es moc6in# this complex,

aristocratic nomenclature o wit, itus is slan# in 7atinfor

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primo#eniture, no doubt, played a lar#e role in the later preser"ation of his comedy

which #rammarians "alued for its use of peculiar and archaic 7atin "ocabulary, 2ustas much as Roman audiences lo"ed @lautusF rollic6in#, li"ely humor .n this respect

as well as his earthy humor,he resembles %ristophanes more than ?enander or anyof the -ew Comedy poets whose plays he hammered into 7atin

% @lautine Comedy

@lautusF comedies re"ol"e mostly around daily life and a"era#e people,

superficially the stuff of Gree6 -ew Comedy as opposed to the politically orientedEld Comedy of the Classical %#e or the spoofs of tra#edy popular in post9classical

?iddle Comedy @lautus, howe"er, #enerates humor in a different way from?enandrean comedy Eften extreme personality types set in outlandish situations,

@lautine characters as a #roup recall %ristophanesF creations more than ?enanderFs

.ndeed, de"ious pimps, mercenary prostitutes, lustful youn# men, lustful old men,tortured mothers and torturin# wi"es and, most of all, crafty sla"es who deli#ht indeception populate @lautusF plays

his feast of broad stoc2 ty'esis a far cry from?enanderFs subtly shaded characters, and in a way,

@lautusFs comedy rewinds the e"olutionary cloc6 andreturns ?enanderFs characters to the caricatures from which

they arose 7est, howe"er, this be seen as some sort of stepbac6wards toward more

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.ndeed, what audiences really want is a paradox, a star6 eni#ma @lautus understood

as well as anyone e"er has While many "iewers announce in public that they wantto learn from plays or see #oodness and morality triumph, all too often what they

actually pay for are flashy, "apid, sensual, amoral spectacles %t the same time, ifthere is nothin# to be #ained intellectually or esthetically from a play, their attention

>uic6ly turns to fresher, slic6er, more no"el nonsense and they tend not to comebac6 a second time or send those friends of theirs who own wallets @lautusF drama

shows that he understood this conundrum >uite well, and his finest talent is, nodoubt, his ability to wal6 the fine line between fine art and a fine time

his raises, then, a >uestion that lies at the "ery heart ofstudies in Roman Comedy: how did @lautus create

theatre so effecti"e in such a place and time While hiscultural situation may loo6 li6e a disad"anta#eB

especially in comparison to the erudite and drama9madsociety that for centuries pac6ed the heatre of

$ionysus in %thensBthere is much to say that @lautusFRome was actually a fertile field for his art he

absence, for instance, of a commandin# nati"e traditionof theatre in late third9century Rome #a"e him carte

lancheto create plays in a manner that suited his talent He could follow hisinstincts and write with a freedom ?enander ne"er had nor e"en &uripides,

aparrhesia

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his >uestion has lon# been a matter of speculation, because the loss of almost all

Hellenistic drama has left theatre historians with no Gree6 ori#inals by which toma6e comparison While that situation has not chan#ed much of lateBe"en if we

now ha"e sli#htly better insi#ht into the situation see below,$acchidesBa fewthin#s are clear about the chan#es he made as he re9sculpted Gree6 drama for the

Roman theatre !or instance, @lautusF comedies are essentially

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+C& to refer to the older, nati"e .talian forms of entertainment, the %tellan farce

andphlyax playsof the days before the in"asion of Hellenic arts hedesi#nationsaturaar#ues that the coherent but complex nature of the Gree6 plots

struc6 later Romans as the ma2or difference between Gree6 drama and the moreepisodic, indi#enous Roman fare hat is, the scenes in Gree6 comedy were clearly

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#irlfriend Chrysis and his best friend ?oschos .n a fit of impulsi"e an#er at their

purported infidelity, he has returned to his father the money their sla"e Syrosswindled from the old man so that Sostratos could #i"e it to Chrysis +ut the

disco"ery of her purported liaison with ?oschos has rattled Sostratos terribly and,not 6nowin# whom to trustBor blameLBhe solilo>ui=es:

%nd now . thin6 .Fll #o see my fine9and9noble7o"er9#irl, and happily, too, since .Fm empty9handed,

So let her sweet9tal6 me, in hopes of #ettin# itBuy deli"ered by SostratosF counterpart in @lautus whorenamed the character *nesilochus he situation in the Roman play is also

sli#htly different .t comes at a point where ?nesilochus has not yet #i"en themoney swindled by his sla"e Chrysalus, the counterpart of ?enanderFs Syros, bac6

to his father

.t is >uite unclear which of them . should belie"e isAnfriendlier, my friend or my #irlfriend +acchisShe chose him o"er me 7et her ha"e him @erfectL

Well, she did it, by #od, and .Fll tell you whoFll pay for it, tooBmeL note!or, as any #od in hea"en is my witness,hereFll ne"er be another woman that .Blo"e as much as herhatFs ri#ht .Fll show herL She wonFt say she #ot the last lau#h on meL.Fll #o home ri#ht now and #i"e her a piece of myBfatherFs propertyOes, thatFs what .Fll #i"e her ?y re"en#e will be so complete.Fll tell you who will end up be##in#Bmy father, thatFs whoL

+ut am . really thin6in# in my ri#ht mind,. who #o on this way about whatFs #oin# to happen here.Fm in lo"e, #od 6nows, . 6now, who doesnFt 6now+ut before she e"er #ets a feather richer%t my expenseBa fiber of a feather filamentLB

.Fd rather #o be##in# from be##arsL

She wonFt lau#h at me, by #od, not in this life.F"e decided to #i"e my father bac6 the money, all of itSo, she can coax and wheedle me empty9handed, bro6e,When it ma6es no difference what she says,7i6e tal6in# tales to a dead man at his tomb

.n #eneral, theDis (xapatonfra#ment shows what many had lon# suspected, that

@lautusF comedies made for li"elier, more humorous and robust comic drama thantheir Gree6 models, especially ?enanderFs %t the same time, howe"er, the @lautine

situation is less realistic than its parallel ?enandrean milieu, with characters moreexa##erated in their responses to the sta#e action and e"erythin# 2ust #enerally less

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across the smooth con"olutions of a well9crafted plot, ?enanderFs most outstandin#

characteristic as a playwri#ht %ll in all, this is exactly what one would expect of@lautus, a translator9cum9adapter whose principal concern is the word and the 2o6e,

and who ne"er de"ised nor too6 pride in the superstructure of a play

+ut itFs important to stress that this doesnFt ma6e @lautusF efforts mis#uided or in

any way a lesser art than ?enanderFs, the way scholars often saw the situation acentury or so a#o he two playwri#hts simply wrote from different outloo6s on

life, for different types of theatre and, most important, to a different community of"iewers -either is intrinsically better than the other rather, both are well9suited to

their own worlds %nd it is to our #reat fortune that both are at wor6 in RomanComedy, because with ?enanderFs #enius at plot and character de"elopment

informin# @lautusF mastery of comic timin# and lan#ua#e, the two amount to onesupreme dramatist, the Gilbert9and9Sulli"an of anti>uity and, without doubt, one of

the best and most intri#uin# pair of sta#e collaborators ne"er to ha"e metL

+ut unli6e a Rod#ers and Hammerstein, if @lautusF and ?enanderFs li"es had not

been separated by a century, it seems improbable they would e"er ha"e actuallycollaboratedL With styles so different, born of worlds so far apart, it is unli6ely they

could ha"e suffered each otherFs presence lon# enou#h to finish one scene to#ether,much less an entire play Oet risin# abo"e their personal differences and cultural

discrepancies, their collecti"e effort, thou#h it comes down to us under only@lautusF name, is, in fact, a brid#e between ci"ili=ations that represents the early

sta#es of an e"en #rander partnership, Greco9Roman culture he multiculturalism

inherent in their drama is a model for the excellence that this sort of internationalsyner#y can produce

erms, @laces, @eople and hin#s to Qnow

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%ivius &ndronicus ,-! '0Ludi Romani*naeus 2aevius

Titus 3accius Plautus)tock T"pes

http:;;wwwusuedu;mar6damen;clasdram;chapters;131plautushtmhttp:;;nehsummer4014romancomedywebuncedu;Introduction to Roman Stagecraft

Roman drama has several origins, some native to -taly, some imported. 5ne of the mostimportant influences on Roman Comedy 8called thefabula palliata in 0atin, after the:Greek: cloak orpalliumworn "y the actors9 was the )tellan 6arce, a non1scriptedtheatrical form which made use of stock masks 8characters9 and slapstick gags. -t was verysimilar to the Commedia dell:arte of the -talian Renaissance.

These slapstick characters and pratfalls were welded onto the tradition of Greek ewComedy, which was imported into Rome after its con$uest of Greece. ew Comedy is theancestor of sitcoms, with plots focusing on domestic issues, usually involving "oy1meets1girl1parents1for"id1marriage and the intervention of a clever slave to save the day. The

Greek versions were fairly genteel, "ut 'lautus and the other early Roman comicplaywrights added lively action, ferocious puns 8in 0atin and Greek9, rude +okes, and lotsand lots of physical comedy.The actors of Roman comedy were all men, and a"out five of them shared out all thedifferent roles in the play. The costumes were fairly simple, consisting of a tunic andapallium, which was long for female characters and short for male characters. The actorsalso wore masks, which were wildly distorted stereotypes, not very realistic, "ut funny.These plays were performed at religious festivals sponsored "y +unior officials in theRoman government. The audience was clearly rowdy, and drama competed for audienceattention with tightrope walkers, +ugglers, and gladiatorial com"ats.'ermanent stone theaters were for"idden in the city of Rome itself "y the uptight Romangovernment, so the plays of 'lautus and Terence were performed on temporary woodenstages like this one, used for performances at the &. 'aul Getty useum in ali"u, C),5cto"er 2@@4. The design is "ased on theatrical wall paintings from Rome, 'ompeii, and5plontis, a good discussion of which can "e found in Beacham, R.C.,The Roman Theatre

and its Audience, #arvard Aniversity 'ress 8Routledge in the A9, 2@@2.

The Romans also produced tragedies, and these were more straightforward translationsand adaptations of the Greek plays of the

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"uilt.

Theater of 'ompey, 'lan

Theater of 'ompey, ReconstructionThe Romans remodeled many e*isting Greek theaters, including the Theater of ionysos in

)thens, and the theaters at 'ompeii. They fused the skene 8scaenain 0atin9 withthe theatron 8caveain 0atin9 and reshaped the horseshoe1shaped orchestra into asemicircle. -n some cases they "uilt in trapdoors, underground passages, and facilities forflooding the orchestra in order to stage a$uatic games and sea "attles.

'lan of the Theater of ionysos at )thens in Roman times.

'lan of the Romani/ed theater at 'ompeiiuring later imperial times the Romans "uilt many enormous stone theaters all overEurope, orth )frica, and the ear East, like this one at (a"ratha.

Dery little drama as such was performed in these theaters, which instead hosted mimesand pantomimes. imes were acro"atic and "awdy, and women acted in them pantomime

was an art much like "allet, and pantomime dancers "ecame the popular cele"rities of theancient world.1 reconstruction of the Theatre of ionysos in )thensduring the Roman period.

http://www.didaskalia.net/stud"area/romanstagecraft.html

T. Maccius Plautus, Trinummus

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THE SUBJECT.

CHARMIDES, a wealthy Athenian, his property having een!"#h $"ninishe$ y the re#%less #on$"#t o& his son, goesaroa$. His $issol"te son, 'esoni#"s, eing le&t ehin$ at

Athens, #ons"!es the little reso"r#es le&t hi!, an$ then p"ts "phis &ather(s ho"se &or sale. At his $epart"re, Char!i$es hasentr"ste$ his interests an$ the #are o& his son an$ $a"ghter tohis &rien$ Calli#les an$ has also in&or!e$ hi! that in his ho"sethere is a treas"re "rie$ as a reserve against &"t"re#ontingen#ies. In or$er that this !ay not e lost, Caili#les "ysthe ho"se o& 'esoni#"s &or a s!all s"!. Ignorant o& his reason&or $oing so, his &ellow)#iti*ens #ens"re hi! &or his #on$"#t, an$

a##"se hi! o& a rea#h o& goo$ &aith in !inistering to thee+travagan#e o& 'esoni#"s y s"pplying hi! with !oney. orthis reason Megaroni$es e+post"lates with his &rien$ Calli#les,an$ greatly #ens"res hi!- on whi#h, Calli#les, in sel&)$e&en#e,entr"sts hi! with the se#ret o& the treas"re. Char!i$es havingle&t ehin$ hi! a grown)"p $a"ghter in the #are o& Calli#les,'ysiteles, a yo"ng !an o& ran% an$ #hara#ter, &alls in love withher, an$ thro"gh his &ather, hilto, as%s her in !arriage. Herrother, 'esoni#"s, is not averse to the !at#h, "t re&"ses tolet her !arry witho"t giving her a portion- an$ he o/ers her to'ysiteles, on #on$ition that he will re#eive as her !arriage)portion a pie#e o& lan$ near the #ity, the sole re!nant o& his

&ort"ne. This, however, 'ysiteles re&"ses to a##ept. In the !eanti!e, Calli#les, at the s"ggestion o& Megaroni$es, $eter!ines togive the yo"ng wo!an a $owry o"t o& the treas"re "rie$ in theho"se whi#h he has o"ght- "t that 'esoni#"s !ay nots"spe#t when#e the !oney really #o!es, a Sharper is hire$,with instr"#tions to preten$ that he rings letters &ro!Char!i$es with a tho"san$ gol$ pie#es as a portion &or his$a"ghter when she sho"l$ !arry. It happens, that while theSharper is on his way with his preten$e$ erran$ to the ao$e o&Calli#les, Char!i$es, having "ne+pe#te$ly ret"rne$ to Athens,is going towar$s his ho"se. He !eets the Sharper, who $is#loses

his erran$ an$ atte!pts to i!pose "pon Char!i$es, whothere"pon $is#overs hi!sel& Char!i$es then !eets his servantStasi!"s, who tells hi! o& the p"r#hase o& his ho"se yCalli#les, whereon he #on#eives hi!sel& to have een etraye$y his &rien$. A&terwar$s, on $is#overing the tr"th, he praisesthe 0$elity o& Calli#les, an$ estows his $a"ghter on 'ysiteles,with a portion o& a tho"san$ gol$ pie#es, an$, at theinter#ession o& 'ysiteles, he &orgives his son 'esoni#"s, an$in&or!s hi! that he is to e !arrie$ to the $a"ghter o& Calli#les.

http://www.thelatinlibrary.com/plautus/trinummus.shtml

PERSONAE

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!"!R#A cum #NOP#A PROO$%S

ME$ARON#&ES SENE"

'A#'ES SENE"

(S#TEES A&!ES'ENS

P)#TO SENE"

ES*ON#'!S A&!ES'ENS

STAS#M!S SER!!S

')ARM#&ES SENE"

S('OP)ANTA

&R*5302T53

Thensaurum a#strusum a#iens peregre 'harmides6Rem7ue omnem amico 'allicli mandat suo.8stoc a#sente male rem perdit 9lius2am et aedis vendit: has mercatur 'allicles.5irgo indotata soror istius poscitur3inus 7uo cum invidia ei det dotem 'allicles63andat 7ui dicat aurum ferre se a patre.5t venit ad aedis6 hunc deludit 'harmides)ene;6 ut rediit 7uoius nu#unt li#eri.

PR4%4*5)

%5sed de argumento ne e;spectetis fa#ulae:senes 7ui huc venient6 ei rem vo#is aperient.huic *raece nomen est Thensauro fa#ulae:Philemo scripsit6 Plautus vertit #ar#are6nomen Trinummo fecit6 nunc hoc vos rogat -!ut liceat possidere hanc nomen fa#ulam.tantum est. valete6 adeste cum silentio.=

&'T5) 8

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8.i30*&R428(0) &micum castigare o# meritam no;iamimmoene est facinus6 verum in aetate utileet conduci#ile. nam ego amicum hodie meum ->concastiga#o pro commerita no;ia6invitus6 ni id me invitet ut faciam 9des.nam hic nimium mor#us mores invasit #onosita pleri7ue omnes iam sunt intermortui.sed dum illi aegrotant6 interim mores mali !7uasi her#a inrigua succrevere u#errime:eorum licet iam metere messem ma;umam6ne7ue 7uic7uam hic nunc est vile nisi mores mali.nimio7ue hic pluris pauciorum gratiamfaciunt pars hominum 7uam id 7uod prosint pluri#us. >ita vincunt illud conduci#ile gratiae67uae in re#us multis opstant odiosae7ue suntremoram7ue faciunt rei privatae et pu#licae.

8.ii'&%%8'%0) %arem corona nostrum decorari volo.u;or6 venerare ut no#is haec ha#itatio !#ona fausta feli; fortunata7ue evenat=te7ue ut 7uam primum possim videam emortuam.30*. ?ic ille est6 senecta aetate 7ui factust puer67ui admisit in se culpam castiga#ilem.adgrediar hominem. '&%. @uoia hic vo; prope me sonatA>30*. Tui #enevolentis6 si ita es ut ego te volo6sin aliter es6 inimici at7ue irati ti#i.

'&%. 4 amice6 salve6 at7ue ae7ualis. ut vales63egaronidesA 30*. 0t tu edepol salve6 'allicles.'&%. 5alenA valuistinA 30*. 5aleo6 et valui rectius. >!'&%. @uid tua agit u;orA ut valetA 30*. Plus 7uam ego volo.'&%. ene hercle est illam ti#i valere et vivere.30*. 'redo hercle te gaudere6 si 7uid mihi mali est.'&%. 4mni#us amicis 7uod mihi est cupio esse idem.30*. 0ho tu6 tua u;or 7uid agitA '&%. 8mmortalis est6 >>vivit victura7ue est. 30*. ene hercle nuntias6deos7ue oro ut vitae tuae superstes suppetat....

http://www.perseus.tufts.edu/hopper/te;tAdocBPerseusC&te;tC&1DDD.!-.!!EC&actC(

...'harmides

)alsFpotenti et mulsFpotenti 8ovis frGtri et 2erei 2Hptuno

laetIs lu#ens laudes Ggo et grates gratiGs7ue ha#eo et Jucti#ussalsis6

7uos pHnes mei fuit saepH potestas6 #onis meFs 7uid foret etmeaH vitae6

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7uom suFs med e; locis Fn patriam suavFssumam reducemfGciunt.

>at7ue Hgo6 2eptune6 ti#i Gnte alios deos grGtias ago at7ueha#eK summas

nam te Kmnes saevom7uH severum7ue at7ue Gvidis mori#uscKmmemorant6

spurcF9cum6 immanem6 intKlerandum6 vesGnum: contra operaH;pertus6

nam pKl placido te et clHmenti meo us7uH modo6 ut volui6 usIssum in alto.

at7ue hGnc tuam gloriam iam Gnte auri#us accHperam6 et

no#ilest Gpud homines6

1!paupHri#us te parcHre solitum6 ditHs damnare at7uH domare.

a#i6 laIdo6 scis ordFne6 ut ae7uomst6 tractGre homines hoc dFsdignumst.

semper mendicis modesti sint.

9dIs fuisti: in9dum Hsse iterant nam aps7uH foret te6 sat scFo inalto

distrG;issent dis7uH tulissent satellFtes tui me miserIm foede

1>#ona7ue Kmnia mea item unG mecum passFm caeruleos pHrcampos:

ita iGm 7uasi canes6 haud sHcus6 circum sta#Gnt navem tur#inHsventi6

im#rHs Juctus7ue at7uH procellae infHnsae frangere mGlum6

ruere Gntemnas6 scindHre vela6 ni tIa pa; propitia fKret praesto.

apage G me sis6 dehinc iGm certumst otiK dare me satis pGrtumha#eo

-!7ui#us aHrumnis delIctavi6 9liK dum divitiGs 7uaero.

sed 7uFs hic est6 7ui in plateam Fngreditur

cum nKvo ornatu speciH7ue simulA

pol 7uGm7uam domi cupio6 Kpperiar6

7uam hic rHm agat animum advortam.)"cophanta

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?uFc ego die nomHn Trinummo fGciam: nam ego operGm meam

tri#us nummis hodie locavi ad artis nugatorias.

advenio e; )eleucia6 3acedonia6 &sia at7ue &ra#ia6

7uas ego ne7ue oculis nec pedi#us um7uam usurpavi meis.

>viden egestas 7uid negoti dat homini misero mali6

7uin ego nunc su#igor trium nummum causa ut hasce epistulas

dicam a# eo homine me accepisse6 7uem ego 7ui sit homonescio

ne7ue novi6 ne7ue natus necne is fuerit6 id solide scio.

'harm.

Pol hic 7uidem fungino generest: capite se totum tegit.

1!?ilurica facies videtur hominis6 eo ornatu advenit.)"c.

8lle 7ui mH condu;it6 u#i condu;it6 a#du;it domum6

7uae voluit mihi di;it6 docuit et praemonstravit prius6

7uo modo 7uic7ue agerem nunc adeo si 7uid ego addidero

amplius6

eo conductor melius de me nugas conciliaverit.

1>ut ille me e;ornavit6 ita sum ornatus argentum hoc facit.

ipse ornamenta a chorago haec sumpsit suo periculo.

nunc ego si potero ornamentis hominem circumducere6

da#o operam6 ut me esse ipsum plane s"cophantam sentiat.

'harm.

@uam magis spHcto6 minus placet mi haec hominis facies. mirasunt6

-!ni illic homost aut dormitator aut sector Lonarius.

loca contemplat6 circumspectat sese at7ue aedis noscitat.

credo edepol6 7uo mo; furatum veniat speculatur loca.

magis lu#idost opservare 7uid agat: ei rei operam da#o.

)"c.

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?as regiones demonstravit mi ille conductor meus

->apud illas aedis sistendae mihi sunt s"cophantiae.

fores pulta#o.'harm.&d nostras aedis hic 7uidem ha#et rectam viam.

hercle opinor mi advenienti hac noctu agitandumst vigilias.)"c.

&perite hoc6 aperite. heus6 ec7uis his fKri#us tutelam geritA'h.

@uid6 adulescens6 7uaerisA 7uid visA 7uid istas pultasA).?eus sene;6

!census cum sum6 iuratori recte rationem dedi.

...

%es#onicum hic adulescentem 7uaero in his regioni#us

u#i ha#itet6 et item alterum Gd istanc capitis al#itudinem:

'alliclem aie#at vocari 7ui has dedit mi epistulas.'harm.

>3eum gnatum hic 7uidem %es#onicum 7uaerit et amicummeum6

cuF ego li#eros7ue #ona7ue commendavi6 'alliclem.)"c.

Mac me6 si scis6 certiorem6 hisce homines u#i ha#itent6 pater.'harm.

@uid eos 7uaerisA aut 7uis esA aut unde esA aut unde advenisA)"c.

3ulta simul rogitas6 nescio 7uid e;pediam potissimum.

!si unum 7uid7uid singillatim et placide perconta#ere6

et meum nKmen et mea facta et itinera ego fa;o scias.'harm.

Maciam ita ut vis. agedum nomen tuom primum memora mihi.)"c.

3agnum facinus incipissis petere.

'h.@uid itaA

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)"c.@uia6 pater6

si ante lucem Fre occipias a meo prFmo nomine6

>concu#ium sit noctis prius 7uam ad postremum perveneris.'harm.

4pus factost viatico ad tuom nomen6 ut tu praedicas.)"c.

0st minusculum alterum6 7uasi vi;illum vinarium.'harm.

@uid est ti#i nomen6 adulescensA)"c.Pa;6 id est nomen mihi.

hoc cotidianumst.'harm.0depol nomen nugatorium6

>!7uasi dicas6 si 7uid crediderim ti#i6 pa;=periisse ilico.

hic homo solide s"cophantast. 7uid ais tu6 adulescensA)"c.@uid estA'harm.

0lo7uere6 isti ti#i 7uid homines de#ent6 7uos tu 7uaeritasA)"c.

Pater istius adulescentis dedit has duas mi epistulas6

%es#onici. is mi est amicus.'harm.

Teneo hunc manifestarium.

>>me si#i epistulas dedisse dicit. ludam hominem pro#e.)"c.

8ta ut occepi6 si animum advortas6 dicam.'harm.(a#o operam ti#i.)"c.

?anc me iussit %es#onico suo gnato dare epistulam6

et item hanc alteram suo amico 'allicli iussit dare.'harm.

3ihi 7uo7ue edepol6 7uom hic nugatur6 contra nugari lu#et.

N!u#i ipse eratA

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)".ene rem gere#at.'h.0rgo u#iA)".8n )eleucia.'h.

ipson istas accepistiA)"c.0 mani#us dedit mi ipse in manus.'h.

@ua facie est homoA).)es7uipede 7uiddamst 7uam tu longior.'harm.

?aeret haec res6 si7uidem ego apsens sum 7uam praesenslongior.

novistin hominemA)"c.Ridicule rogitas6 7uicum una ci#um

N>capere soleo.'h.@uid est ei nomenA)"c.

@uod edepol homini pro#o.'harm.

%u#et audire.)"c.8lli edepol=illi=Flli=vae misero mihi.'harm.

@uid est negotiA)"c.(evoravi nomen imprudens modo.

'harm.

2on placet 7ui amicos intra dentes conclusos ha#et.)"c.

&t7ue etiam modo vorsa#atur mi in la#ris primori#us.'harm.

O!Temperi huic hodie anteveni.)"c.

Teneor manifesto miser.'harm.

8am recommentatus nomenA

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)"c.(eum hercle me at7ue hominum pudet.'h.

5ide modo ut hKminem noveris.).

Tam 7uam me. 9eri istuc solet6

7uod in manu teneas at7ue oculis videas6 id desideres.

litteris recomminiscar. ' est principium nomini.'h.

O>'alliasA).2on est.'h.

'allippusA).2on est.'h.'allidemidesA).

2on est.'h.'allinicusA).2on est.

'h.'allimarchusA).2il agis.

ne7ue adeo edepol Jocci facio6 7uando egomet memini mihi.'harm.

&t enim multi %es#onici sunt hic: nisi nomen patris

dices6 non monstrare istos possum homines 7uos tu 7uaeritas.

E!7uod ad e;emplum estA coniectura si reperire possumus.)"c.

&d hoc e;emplum est='harm.&n 'haresA an 'harmidesA)"c.0nim 'harmides.

em istic erit. 7ui istum di perdant. di;i ego iam dudum ti#i:

...'harm.

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Te potius #ene dicere ae7uomst homini amico6 7uam male.)"c.

E>)atin inter la#ra at7ue dentes latuit vir minimi pretiA'h.

2e male lo7uere apsenti amico.)"c.@uFd ergo ille ignavissumus

mihi latita#atA'harm.)i appellasses6 respondisset6 nomine.

sed ipse u#i estA).

Pol illIm reli7ui ad Rhadamantem in 'ecropia insula.Q'h.

@uis homo est me insipientior6 7ui ipse6 egomet u#i sim67uaeritemA

D!sed nil disconducit huic rei. 7uid aisA 7uid hoc 7uod te rogoA

7uos locos adiistiA)"c.2imium mirimodis mira#iles.'harm.

%u#et audire6 nisi molestumst.)"c.@uin discupio dicere.

omnium prFmum in Pontum advecti ad &ra#iam terram sumus.'h.

0ho an etiam &ra#iast in PontoA).0st: non illa u#i tus gignitur6

D>sed u#i apsinthium 9t at7ue cunila gallinacea.'harm.

2imium graphicum hunc nugatorem. sed ego sum insipientior6

7ui egomet unde redeam hunc rogitem6 7uae ego sciam at7uehic nesciat

nisi 7uia lu#et e;periri6 7uo evasurust deni7ue.

sed 7uid aisA 7uo inde isti porroA

)"c.)i animum advortes6 elo7uar.

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1!!ad caput amnis6 7uod de caelo e;oritur su# solio 8ovis.'h.

)u# solio 8ovisA).8ta dico.'h.0 caeloA).&t7ue e medio 7uidem.