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- Krater Fragment
- Konnakis Group
- Found Tarentum, Italy
- Like a scene painting
- Porticoes wit double doors
- brown for wooden frame, red for bronze door? Limestone/marble for frame?
- Young man in pilos - traveller's hat
- Man holding a ritual bowl
- No masks visible
- Monochrome outfits
- No dominant central door
- Compare with Epidauros - evidence to contrary
- Which texts would call for a central door? Frogs and Bacchae have central action at a door - why would this take place off to one side?
We can't really identify a play. Bellerophon and Pegasos are on the building as ornaments but Taplin does not consider this serious evidence for a depiction of Stheneboeia
- Left: Orestes at Delphi
- Apulian Volute Krater
- Black Fury Painter
- 90cm high! A forerunner for massive Apulian Vases
- Lively and colourful
- White columns for temple
- Fury: black, with white underpainting. Skilful and unusual - only one other such by Konnakis painter
- Artemis is not in the Oresteia so unlikely she was ever plonked on stage. Perhaps she has just been placed because she is Apollo's companion. Remember it's a combination of action - probably not meant to depict a specific scene of a play.
In Aiskhylos the furies are asleep
NB Attic painters painted what they remembered of what they heard.
Had this Apulian painter seen a play of this? Or did he just know the myth?
- Apollo is warding off the horrifying Fury.
- Is this a comforting idea – that some gods will protect you still from terrible
- entities from the Underworld?
To evoke Delphi: Ionic columns, laurel tree, tripods, offerings, omphalos stone
- Apulian Volute Krater
- Darius Painter
- c. 340
- 2-level composition, but not gods above and mortals below
- Corpse, Diomedes' victim
- Diomedes poised to attack
- Rhesos is labelled, in bed w/ sceptre
- Odysseus with 2 white horses
- Camp fire - unusual, atmospheric
- Athene guiding D
- Seated grieving female ('one of the muses' - Rhesos' mother)
- Male - horned river god, Rhesos' father was the River Strymon
- Some say this draws on the Iliad, not a tragedy
- Taplin suggests people who did know the tragedy could further their appreciation of the painting
- It fits the tragedy well in terms of content
- Odysseus has sleeves and boots, which suggest tragic costume
- ΡΗΣΟΣ is not close to his figure like a label but up above Diomedes - title for the whole picture?
- Left: Sicilian krater, Herakles and Auge, Manfria group
- Seems very clearly to depict a stage performance.
- Stage and the steps down to the orchestra are clear. The artist has depicted comic masks with carefully extended jaw lines and grotesque expressions.
- Padded comic suits are clear on two figures.
- 'Herakles' wears a lion skin and his gait seems theatrical and exaggerated
- The story is that she had his baby and hid it from her father Aleus as a prophecy said his grandson would overpower him
- Maybe one old man rep is Aleus.
- Right: Paestan krater by Asteas
- Another seeming depiction of a stage
- This time is the skene depicted with two windows?
- Padded old man figure - a perverted old slave?
- Naked 'woman' doing a handstand
- Is Dionysos there?
- Attic votive relief
- Piper and family
- Marble - expensive so income from his profession obv good
- Relief plaques, usually set on pillars in sanctuary precincts, are the commonest sculptural dedications. They may show the donor, often with his family, making a sacrifice or offering, and the deity is often shown also, at a larger size, receiving them.
- O course he'd dedicate to D - god of theatre! He is garlanded, and is touching perhaps a small panther or other cat, and a stag is present. Extended hand damaged - extended for something.
- Female standing - a consort? Perhaps Ariadne? Artemis has been suggested, perhaps because tree and stag suggest woodland location?
- Piper and family smaller
- Dramatic masks up on the wall
Aulos player accompanied performances.
- Marble grave stele
- Actor or poet
- 4th BC - by this time the ban on grave stele had ended
- He contemplates a mask and another hangs on the wall.
- Green says the masks are those of a slave and an old man from comedy and would have been recognisable as such.
- He also says that the missing left hand would have held a scroll, and argues that this calls for definition as a poet.
- Draped himation
- Wanted to represent his craft? Very contemplative design
- A passer-by would understand the image and know how he spent his life. Important choice of self-representation - he was obviously proud of what he did
- Fragment of bell-krater by the Konnakis group: Actor with mask.
- 350-340 BC
- Stubby beard, graying hair, splendid mask (symbol of his profession), wearing kothornoi which suggests he was a tragic actor, long sleeved garment
- Unusually characterful portrait - maybe an interest in actors - was he an early celebrity?
- Right:Stucco panel, Herculaneum, 1st AD
- Actor in long chiton with golden belt and mauve cloak. He holds a sceptre.
- Romans liked to show their cultural pedigree in their wall paintings and this may suggest the home owner's desire to show that he is au fait with the theatre?
- Roman Copy of Dionysos-Sardanopolos
- Original c300BC
- Heavily draped
- Long beard - older, wiser Dionysos?
- Possibly held a thyrsus?
- Compare with the below (late 1st c BC)
- Dionysos looks similar here but is being supported by a satyr and looks drunk.
ALSO PHYLAX COMEDY
NY GOOSE PLAY
- 3/4 Characters speaking
- Nude athlete character saying something unintelligible, others in Attic Greek
- Boy: tragoidos
- Old woman: I shall hand him ver
- Old man/slave: '_ has tied my arms up high'
- Youth: '....' foreigner? Skythians were police in Athens, or some think it might be a spell
- A beating of a slave?
- Stage, skene door
- Old man’s posture for whipping. No rope – a
- spell? Or it’s just the drama being shown (from what would they suspend him?)