By Gwendolyn Compton-Engle
This booklet bargains an interpretation of the dealing with of dress within the performs of the fifth-century comedian poet Aristophanes. Drawing on either textual and fabric facts from the fourth- and fifth-century Greek international, it examines 3 layers of gown: the bodysuit worn by means of the actors, the characters' outfits, and the extra layering of cover. A bankruptcy can be dedicated to the creative costumes of the comedian refrain. Going past describing what costumes gave the look of, the ebook focuses as an alternative at the dynamics of gown because it is manipulated through characters within the functionality of performs. The e-book argues that gown is used competitively, as characters deal with each one other's costumes and poets vie for prestige utilizing dress. This argument is proficient by way of functionality stories and via analyses of gender and the physique.
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Additional info for Costume in the Comedies of Aristophanes
Detail. 284. Photograph © Civico Museo Archeologico di Milano, Italy. painters do not as consistently present female characters on the comic stage in the same degree of somatic artificiality as they do male comic characters. In other words, they do not always explicitly show the somation, or even the mask, of women on the comic stage. This inconsistency in the depiction of female characters deserves our attention. Some female characters do fit the model of somatic artificiality that we have seen exhibited by male characters.
92 The scene with the dancing girls in Acharnians represents the culmination of a very phallocentric play: the Odomantians’ circumcised members are observed (158, 161); Dicaeopolis oversees a phallic procession and performs a song in honor of Phales (237–79); Dicaeopolis comments on Lamachus’s “equipment” (591–2); the scene with the Megarian’s piggies involves a phallic double entendre (785–7); and Dicaeopolis offers a bride some ointment to put on the phallus of her bridegroom (1058–66). While phallic gratification can indicate the protagonist’s success, conversely a character’s failures and letdowns can also be represented in phallic terms.
The “Dirty Old Man” bell-krater (Figure 10), which shows a male comic character extending his phallus to a well-covered and apparently horrified female character, may represent an unsuccessful attempt of this type. 94 In Women at the Thesmophoria, both the Relative and the Scythian archer struggle to contain their phalluses (643–8, 1187); and virtually the entire male cast of Lysistrata suffers from painful erections. Three comic actors on a merry-go-round, one with flute. 375–350. , but whereabouts unknown.