03700nam 2200697 450 991082281470332120200903223051.03-11-032478-410.1515/9783110324785(CKB)2550000001152535(EBL)1164724(SSID)ssj0001046141(PQKBManifestationID)11569288(PQKBTitleCode)TC0001046141(PQKBWorkID)11120735(PQKB)10682004(DE-B1597)211247(OCoLC)859154746(OCoLC)881296331(OCoLC)900720718(DE-B1597)9783110324785(Au-PeEL)EBL1164724(CaPaEBR)ebr10785887(CaONFJC)MIL806299(MiAaPQ)EBC1164724(PPN)202088871(EXLCZ)99255000000115253520131106d2013 uy 0itaur|n|---|||||txtccrTecniche teatrali e formazione dell'oratore in Quintiliano /Francesca Romana Nocchi ; herausgegeben von Michael Erler [and three others]Berlin, Germany ;Boston, Massachusetts :Walter de Gruyter GmbH,2013.©20131 online resource (244 p.)Beitrg̃e zur Altertumskunde,1616-0452 ;Band 316Description based upon print version of record.3-11-032446-6 Includes bibliographical references and index. Frontmatter -- Prefazione -- Indice -- Introduzione -- 1 Intersezioni fra teatro e oratoria prima di Quintiliano -- 2 Didattica della voce -- 3 Imago est animi voltus: la maschera fra teatro e oratoria -- 4 Sermo corporis -- 5 Prosopopea e etopea -- 6 Lettura di Menandro alla scuola del grammaticus -- Bibliografia -- IndiciThe volume focuses on the evidence of scenic art present in Quintilian's Institutio oratoria to verify its influence on the education of the speaker. The enquiry will also make reference to all Greek and Latin sources useful in highlighting the mutual dependence between oratory and theater from the fifth century B.C. to the second century A.D. The most important area of investigation concerns the teaching of comoedus, master of diction and gestures. The fields of specialization and methods configured by Quintilian recall in detail the training process followed by Demosthenes to achieve excellence in the actio under the guidance of different actors; this close similarity suggests a persistence of training relationships between theater and oratory. The choice of comoedus is based on well-defined selection criteria: in particular, the comedy seems to have replaced the tragedy as the teaching model in the imperial era because of its greater verisimilitude. The enquiry extends to the acting techniques used in the imperial era, with particular attention to the mask and the strategies of identification that the actor could suggest to the speaker to activate the process of sympatheia with the public. Beiträge zur Altertumskunde ;Bd. 316.Rhetoric, AncientEducation.Quintilian.rhetoric.theater.Rhetoric, Ancient.808.5/1FX 222155rvkNocchi Francesca Romana602136Erler Michael162340MiAaPQMiAaPQMiAaPQBOOK9910822814703321Tecniche teatrali e formazione dell'oratore in Quintiliano4055484UNINA