LEADER 03700nam 2200697 450 001 9910822814703321 005 20200903223051.0 010 $a3-11-032478-4 024 7 $a10.1515/9783110324785 035 $a(CKB)2550000001152535 035 $a(EBL)1164724 035 $a(SSID)ssj0001046141 035 $a(PQKBManifestationID)11569288 035 $a(PQKBTitleCode)TC0001046141 035 $a(PQKBWorkID)11120735 035 $a(PQKB)10682004 035 $a(DE-B1597)211247 035 $a(OCoLC)859154746 035 $a(OCoLC)881296331 035 $a(OCoLC)900720718 035 $a(DE-B1597)9783110324785 035 $a(Au-PeEL)EBL1164724 035 $a(CaPaEBR)ebr10785887 035 $a(CaONFJC)MIL806299 035 $a(MiAaPQ)EBC1164724 035 $a(PPN)202088871 035 $a(EXLCZ)992550000001152535 100 $a20131106d2013 uy 0 101 0 $aita 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aTecniche teatrali e formazione dell'oratore in Quintiliano /$fFrancesca Romana Nocchi ; herausgegeben von Michael Erler [and three others] 210 1$aBerlin, Germany ;$aBoston, Massachusetts :$cWalter de Gruyter GmbH,$d2013. 210 4$dİ2013 215 $a1 online resource (244 p.) 225 1 $aBeitrg?e zur Altertumskunde,$x1616-0452 ;$vBand 316 300 $aDescription based upon print version of record. 311 $a3-11-032446-6 320 $aIncludes bibliographical references and index. 327 $t Frontmatter -- $tPrefazione -- $tIndice -- $tIntroduzione -- $t1 Intersezioni fra teatro e oratoria prima di Quintiliano -- $t2 Didattica della voce -- $t3 Imago est animi voltus: la maschera fra teatro e oratoria -- $t4 Sermo corporis -- $t5 Prosopopea e etopea -- $t6 Lettura di Menandro alla scuola del grammaticus -- $tBibliografia -- $tIndici 330 $aThe volume focuses on the evidence of scenic art present in Quintilian's Institutio oratoria to verify its influence on the education of the speaker. The enquiry will also make reference to all Greek and Latin sources useful in highlighting the mutual dependence between oratory and theater from the fifth century B.C. to the second century A.D. The most important area of investigation concerns the teaching of comoedus, master of diction and gestures. The fields of specialization and methods configured by Quintilian recall in detail the training process followed by Demosthenes to achieve excellence in the actio under the guidance of different actors; this close similarity suggests a persistence of training relationships between theater and oratory. The choice of comoedus is based on well-defined selection criteria: in particular, the comedy seems to have replaced the tragedy as the teaching model in the imperial era because of its greater verisimilitude. The enquiry extends to the acting techniques used in the imperial era, with particular attention to the mask and the strategies of identification that the actor could suggest to the speaker to activate the process of sympatheia with the public. 410 0$aBeitra?ge zur Altertumskunde ;$vBd. 316. 606 $aRhetoric, Ancient 610 $aEducation. 610 $aQuintilian. 610 $arhetoric. 610 $atheater. 615 0$aRhetoric, Ancient. 676 $a808.5/1 686 $aFX 222155$2rvk 700 $aNocchi$b Francesca Romana$0602136 701 $aErler$b Michael$0162340 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910822814703321 996 $aTecniche teatrali e formazione dell'oratore in Quintiliano$94055484 997 $aUNINA