LEADER 03532nam 2200625 a 450 001 9910777695403321 005 20230617010637.0 010 $a0-292-79754-0 024 7 $a10.7560/702424 035 $a(CKB)1000000000453884 035 $a(OCoLC)614978272 035 $a(CaPaEBR)ebrary10188328 035 $a(SSID)ssj0000239328 035 $a(PQKBManifestationID)11173993 035 $a(PQKBTitleCode)TC0000239328 035 $a(PQKBWorkID)10239035 035 $a(PQKB)11095104 035 $a(OCoLC)60567355 035 $a(MdBmJHUP)muse19297 035 $a(Au-PeEL)EBL3443030 035 $a(CaPaEBR)ebr10188328 035 $a(MiAaPQ)EBC3443030 035 $a(DE-B1597)586659 035 $a(DE-B1597)9780292797543 035 $a(EXLCZ)991000000000453884 100 $a20040129d2004 ub 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aRoman tragedy$b[electronic resource] $etheatre to theatricality /$fMario Erasmo 205 $a1st ed. 210 $aAustin $cUniversity of Texas Press$d2004 215 $a1 online resource (224 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-292-70242-6 320 $aIncludes bibliographical references (p. 193-205) and index. 327 $tFrontmatter -- $tCONTENTS -- $tPREFACE -- $tIntroduction THEATRE TO THEATRICALITY -- $tOne CREATING TRAGEDY -- $tTwo THEATRICALIZING TRAGEDY -- $tThree DRAMATIZING HISTORY -- $tFour CREATING METATRAGEDY -- $tFive METATRAGEDY -- $tAPPENDIX Tragedies listed by Dramatist -- $tNOTES -- $tBIBLIOGRAPHY -- $tINDEX 330 $aRoman tragedies were written for over three hundred years, but only fragments remain of plays that predate the works of Seneca in the mid-first century C.E., making it difficult to define the role of tragedy in ancient Roman culture. Nevertheless, in this pioneering book, Mario Erasmo draws on all the available evidence to trace the evolution of Roman tragedy from the earliest tragedians to the dramatist Seneca and to explore the role played by Roman culture in shaping the perception of theatricality on and off the stage. Performing a philological analysis of texts informed by semiotic theory and audience reception, Erasmo pursues two main questions in this study: how does Roman tragedy become metatragedy, and how did off-stage theatricality come to compete with the theatre? Working chronologically, he looks at how plays began to incorporate a rhetoricized reality on stage, thus pointing to their own theatricality. And he shows how this theatricality, in turn, came to permeate society, so that real events such as the assassination of Julius Caesar took on theatrical overtones, while Pompey's theatre opening and the lavish spectacles of the emperor Nero deliberately blurred the lines between reality and theatre. Tragedy eventually declined as a force in Roman culture, Erasmo suggests, because off-stage reality became so theatrical that on-stage tragedy could no longer compete. 606 $aLatin drama (Tragedy)$xHistory and criticism 606 $aTheater$xHistory$yTo 500 606 $aTheater$zRome 615 0$aLatin drama (Tragedy)$xHistory and criticism. 615 0$aTheater$xHistory 615 0$aTheater 676 $a872/.0109 700 $aErasmo$b Mario$0623971 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910777695403321 996 $aRoman tragedy$91097280 997 $aUNINA