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By Edith Hall

During this pioneering research Edith corridor explores the various other ways during which we will comprehend the connection among the genuine, social international within which the Athenians lived and the theatrical roles that they invented. In twelve experiences of position varieties and the theatrical conventions that contributed to their production - together with girls in childbirth, drowning barbarians, sexy satyrs, allegorical representations of Comedy, peasant farmers, tragic mask, and solo sung arias - she advances the argument that the interface among historical Greek drama and social fact has to be understood as a classy and relentless means of mutual cross-pollination.

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The language used in comedy to express what we call ‘playing a role’ thus describes a direct and binary relationship between the actor and the concrete individual he actually ‘becomes’, rather than a more complex triangular relationship including the mysterious, abstract additional entity we now call the ‘role’ of the impersonated individual. But other, more elaborate metaphors crop up in philosophical prose. ’79 Archilochus’ 77 On this passage see also Ch. 11, pp. 339–40. 78 Muecke (1982), 55; see also So¨rbom (1966), 78, 27–9.

Pertusi (1959). 87 Recently, however, the publication of a new papyrus (POxy 4546) has thrown unprecedented light on the ways in which individual actors prepared themselves, a process which has always remained obscure, except for the anecdote in which Plutarch describes Euripides training a chorus; here the word used is hupolego¯ plus dative (De Audiendo 46b). 88 But the new papyrus shows that actors could be given texts of their own lines in a play. Dated to between 100 bc and ad 50, it contains the thirty lines spoken by Admetus in Euripides’ Alcestis 344–82, but excludes the lines delivered in the stichomythia by his interlocutors—the actor playing Alcestis (seven lines: 344, 346, 347, 348, 355, 357, 376), and the chorus (two lines: 369–70).

It was partly in order to circumvent Plato’s objections that Aristotle claimed that the characters involved in tragic drama were less important than plotlines (1450a 15–26), and that acting could be dispensed with altogether since a cogent plot could take eVect if recounted without theatrical enactment (1453b 3–8). 27 25 The precise date depends on reconciling the evidence from several inscriptions, for a discussion of which see Csapo and Slater (1995), 227–8. 26 See Muecke (1982), 53: gunaikeia dramata here ‘are plays the heroines of which are women, rather than plays with a female chorus, the explanation oVered by the scholia’.

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