Ars scaenica Index Historia | Bibliographia | Notae | Tabula navigationisAmplifica

ArsHumanitatesTheatrum


ars activafabulamludus scaenicusspectaculumscaenatheatrumactorhistrioballatorpoetacantormoderatorproductormusicusfaber scaenicuseffectuum specialium peritusorationibusacroasibusconcentibussymphoniisTheatrum lyricumoperatheatrum prosaeGraeciculturaDionysiachoruspersonasnumeriversusAeschylusSophoclesEuripidesAristophanesMenanderEtruscisRomanisRomanossaeculo tertioLudi RomaniLudi MegalensesJacobam de RomillyLivius AndronicusQuintus EnniusT. Maccio PlautoP. Terentio AfroLucius Annaeus SenecaGnaeus Pompeius MagnusIaponiakabukinohkyogenbunrakuneurospastaIndiasaeculo 1 p.C.n.Kalidasuslingua SanscritaRāmoAetate MedievaleHrotsvitha GandeshemensisMysteriauniversitatibusAetate litterarum renatarumMarcus Antonius MuretusGeorgius BuchananusAlbertinus MussatusGregorius CorrerGulielmus ShakespeareThomas KydPetrus Calderón de la BarcaIoannes RacineLondiniNovi Eboraci






Studiosi in scaena fabulam nomine Dancing at Lughnasa agunt.


Ars scaenica seu ars theatralis est ars activa ubi solus quidam aut plures, in momento et spatio quodam, se ad alium aut alios ostendunt, fabulam agentes.


Ostentatio vel actio appellatur fabula, ludus scaenicus vel spectaculum; momentum et spatium spectaculi appellantur scaena; et aedificium scaenam spectatorumque sedilia complexum, theatrum.


Qui artem in scaena agit appellatur actor, histrio, ballator, poeta, aut cantor, secundum genus spectaculi. Post siparium artifices scaenici quoque sunt moderator, productor, musicus, faber scaenicus, effectuum specialium peritus, luminator, artifex sonorum, etc.


Ludus aut spectaculum saepe musicam et saltationem assectatur, et theatra quoque sunt loci orationibus, acroasibus, concentibus et symphoniis idonei, sed musica, ballatio, oratio, et acroasis sine actione fabulaque narrata non habentur artes scaenicae. Theatrum lyricum vel opera est genus spectaculi ubi histriones cantant; si loquuntur, spectaculum dicitur theatrum prosae.




Index





  • 1 Historia

    • 1.1 Theatrum Graecum


    • 1.2 Theatrum Romanum


    • 1.3 Theatrum Iaponicum


    • 1.4 Theatrum Indicum


    • 1.5 Theatrum Medievale


    • 1.6 Theatrum Renascentiae litterarum


    • 1.7 Theatrum Modernum



  • 2 Bibliographia


  • 3 Notae




Historia |



Theatrum Graecum |




Theatrum Dionysi, Athenis.


Graeci artem scaenicam primi in cultura Occidentale invenerunt. Fabulas in feriis nationalibus egerunt, praecipue Dionysia Atheniensia. Certamina tria fuerunt:[1]


  • certamen dithyrambicum, anno fere 600 a.C.n. inceptum

  • certamen tragicum, saeculo sexto inceptum

  • certamen comicum, anno 486 a.C.n. inceptum

Quamquam dithyrambus non est ars scaenica, tragoedia et comoedia sunt. In certamine tragico, tres histriones partes agunt, et chorus duodecim homines habet (aut quindecem, post medium saeculum quintum). In certamine comico, quattuor vel fortasse plures histriones agunt, cum choro viginti-quattuor hominum.[2] Omnes histriones et membri chori sunt viri; personas portant ut partes varios agent.


Tragoedia, apud Graecos, significat formam quandam fabulae, ubi tres tantum histriones omnes partes agunt, et numeri versus rariores licentias exhibunt. Comoedia est alia forma. Idem argumentum potest aut tragoediam aut comoediam facere: non necesse est tragoedias maestas esse, nec comoedias laetas.


Scriptores tragoediarum maximi momenti sunt Aeschylus, Sophocles, Euripides; inter scriptores comoediarum Aristophanes et Menander principes sunt. Permulti alii etiam fabulas fecerunt, nunc autem perditas praeter fragmenta.


Certamina Dionysiorum usque ad secundum saeculum a.C.n. extendebant. A quarto saeculo greges histrionum, "Artifices Dionysi" dicti, per urbes Graecas iter faciebant, fabulas ubique agentes. Tales greges artem scaenicam Etruscis et Romanis docuerunt.



Theatrum Romanum |




Personae theatrales: opus tessellatum, Hadrumeti.


Apud Romanos ars scaenica saeculo tertio exeunte crescit. Ludi Romani, Ludi Megalenses, alia feria, et munera funeraria fuerunt fabularum occasiones. Romani quattuor genera distinxerunt:


  • fabula crepidata, vel tragoedia Graeca

  • fabula praetexta, vel tragoedia Romana

  • fabula palliata, vel comoedia Graeca

  • fabula togata, vel comoedia Romana

Secundum Jacobam de Romilly,[3] Romani primi distinctionem inter argumenta tragoediarum et comoediarum fecerunt, ut nunc facimus. Ex argumentis maestis, in quibus personae moriuntur vel alia mala accidunt, tragoediae fiunt; comoediae autem ex argumentis facetis.


Primus scriptor fabularum Romanus fuit Livius Andronicus, qui fabulas crepidatas et palliatas scripserunt. Quintus Ennius et alii poetae fabulas scripserunt. Quamquam scriptores Graeci aut tragoedias aut comoedias scripserunt, numquam ambo, Romani saepissume ambobus generis usi sunt.


Fabulae quae exstant sunt palliatae a T. Maccio Plauto et P. Terentio Afro scriptae.


Lucius Annaeus Seneca aliquas tragoedias saeculo primo p.C.n. scripsit.


Primum theatrum Romae aedificavit Gnaeus Pompeius Magnus anno 55 a.C.n. Antea fabulas in Foro vel in Circo egerunt.



Theatrum Iaponicum |




Histriones fabulam kabuki agunt, pars expositionis "Japan 2012"


Iaponia artem scaenicum semper coluit. Inter genera fabularum sunt kabuki, noh, kyogen, bunraku. Hic ab aliis differt quod non homines histriones habet sed neurospasta.



Theatrum Indicum |




Fabula Rāmlīlā, Delli Novi, 2012.


In India ars scaenica fere saeculo 1 p.C.n. incipit. Scriptor notissimus est Kalidasus, qui lingua Sanscrita usus est. Et viri et feminae partes egerunt.


Fabula scaenica popularis hodierna est "Rāmlīlā" h.e. "Fabula de Rāmo," quae historiam Rami e carmine epico Ramayano narrat, qualibet lingua. Plures urbes pluriaque oppida Indica tales fabulas quotannis faciunt.



Theatrum Medievale |


Aetate Medievale, omnes nationes Europae fabulas egerunt, et Latine et linguis vulgaribus.


Hrotsvitha Gandeshemensis prima dicitur quae fabulas scripsit post aevum antiquum. Mysteria vel fabulae de miris vel de vitis sanctorum post saeculum decimum auxerunt; plures urbes mysteria habuerunt, vel Latine vel in lingua populi. In universitatibus quoque discipuli fabulas egerunt.



Theatrum Renascentiae litterarum |


Aetate litterarum renatarum, ars scaenica quoque quasi renata fuit. Fabulae Latinae, praecipue in universitatibus, iam aguntur; fabulae linguis vulgaribus extra universitates aguntur.


Intra scriptores fabularum Latinarum sunt Marcus Antonius Muretus, Georgius Buchananus, Albertinus Mussatus, Gregorius Correr.


Gulielmus Shakespeare, Thomas Kyd, Petrus Calderón de la Barca, Ioannes Racine sunt principes scriptores fabularum aliarum linguarum.



Theatrum Modernum |


Ars scaenica iam hodie floret. Theatra Londini et Novi Eboraci clarissima sunt; universitates artem scaenicam docent.



Bibliographia |


  • Baumer, Rachel Van M., et James R. Brandon, edd. Sanskrit Drama in Performance. Honolulu: University Press of Hawaii, 1981. ISBN 0824806883.

  • Beacham, Richard C. The Roman Theatre and its Audience. Cantabridgiae: Harvard University Press, 1992. ISBN 0674779134

  • Brockett, Oscar G., et Franklin J. Hildy. History of the Theatre. Bostoniae: Allyn and Bacon, 1968; reeditio 2007. ISBN 9780205473601.

  • Csapo, Eric, et William J. Slater. The Context of Ancient Drama. Ann Arbor: University of Michigan Press, 1995. ISBN 0472082752.

  • de Romilly, Jacqueline. Héros tragiques, héros lyrique. Saint-Clément-de-Rivière: Fata Morgana, 2000.

  • Duckworth, George E. The Nature of Roman Comedy. Princeton: Princeton University Press, 1952; editio altera Norman: University of Oklahoma Press, 1994. ISBN 0806126205.

  • Easterling, P. E., ed. The Cambridge Companion to Greek Tragedy. Cantabridgiae: Cambridge University Press, 1997. ISBN 0521423511.

  • Elam, Keir. The Semiotics of Theatre and Drama. Londini: Routledge, 2002. ISBN 0415280184.

  • Gentili, Bruno. Theatrical Performances in the Ancient World: Hellenistic and Early Roman Theatre. Amstelodami: Gieben, 1979. ISBN 9070265311.

  • Henderson, Jeffrey. Aristophanes: Lysistrata. Oxonii: Clarendon Press, 1987. ISBN 0198144962.

  • Keith, A. B. The Sanskrit Drama in its Origin, Development, Theory, and Practice. Oxonii: Oxford University Press, 1924.

  • Kerr, Walter. Tragedy and Comedy. Novi Eboraci: Simon and Schuster, 1967. OCLC 252638.

  • Konigson, Elie. L'espace théâtral médiéval. Lutetiae: Éditions du Centre national de la recherche scientifique, 1975. ISBN 2222017408.

  • Meagher, John C. Shakespeare's Shakespeare: How the Plays were Made. Novi Eboraci: Continuum, 1997. ISBN 0826410073.

  • Nelson, T. G. A. Comedy. Oxonii: 1990.

  • Richmond, Farley P., Darius L. Swann, et Phillip B. Zarrilli, edd. Indian Theatre: Traditions of Performance. Honolulu: University Press of Hawaii, 1990. ISBN 0824811909.

  • Storey, Ian C., et Arlene Allan. A Guide to Ancient Greek Drama. Malden: Blackwell, 2005. ISBN 1405102152.

  • Styan, J. L. Drama, Stage, and Audience. Cantabridgiae: Cambridge University Press, 1975. ISBN 0521205042.

  • Vince, Ronald W. Ancient and Medieval Theatre: A Historographical Handbook. Westport: Greenwood Press, 1984. ISBN 0313241074.

  • Wiles, David, et Christine Dymkowski, edd. The Cambridge Companion to Theatre History. Cantabridgiae: Cambridge University Press, 2013. ISBN 9780521766364


Notae |



  1. ↑ Storey et Allen, p. 8 ff, historiam exponunt.


  2. ↑ De numero histrionum comoediarum vide Henderson Lysistrata p. xli--xlv, qui dicit necesse esse 4, melius 5 histriones hac in fabula.


  3. ↑ de Romilly 2000


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