Women in Greek and Roman
Theater
Blegen Seminar, GRST 302-51
Vassar College, Spring 2011
Tuesday/Thursday 1:30-2:45
PM, Sanders Classroom 212
Paestan (S. Italian)
red-figure amphora Martha
Graham Dancing
title role in Clytemnestra (1960) |
John H. Starks, Jr. Blegen Research
Fellow Sanders
Classroom 122 845-437-5603 Office Hours: 11-12 AM T, 4-5 PM W |
Domina
(Deann deGruijter) OpPRESSes her
Slave Hysterium (Stephen Ouimette)
in Sondheim, Shevelove & Gelbart’s A Funny thing Happened on the Way to the
Forum (Stratford Shakespeare Festival, 2009) Mosaic
of scene from Menander's Comedy Synaristosai
“Women at Breakfast" (Abadie-Reynal/Darmon 2003.
Journal of Roman Archaeology, Supp. 51) |
Course
Synopsis:
Women, such as Clytemnestra,
Medea, Helen, Hekabe/Hecuba, Lysistrata, and Cleostrata, are among the most interesting
characters developed for the ancient stage. We will look at these women as
entertaining and stimulating visions of the feminine and unfeminine (whatever
those may mean), as perceived by the cultures that originally watched them and
in our own day. This course approaches Greek and Roman dramatic scripts, both
tragic and comic, as vehicles for presentation of social norms and anomalies at
public festivals and for general entertainment. As public works, these texts
offer us a chance to understand gender issues and social mores as presented by
actors. We will also examine and practice with ancient theater techniques to
better understand the presentation of females by male actors, and we will
discuss the venues and genres in which women played female characters to
examine the differences gender makes in perception of character and in their
real lives as working women. Students will gain familiarity with these plays
and characters through ample script analysis, discussion, performance, feminist
theoretical readings, and oral and written presentations of original work.
This course must begin with
Aeschylus’ Oresteia as a powerful
commentary on early classical Athenian impressions of women, motherhood and the
feminine/masculine dichotomy presented before a public audience. Several
of Euripides’ war plays (Andromache, Trojan Women, Hecuba) focused on
the defeated Trojan women address both standard societal observations on women
in crisis and a developing dramatic intensity in Euripides’ female roles. Excerpts
from Medea show that Euripides actively thought about his presentation
of the feminine and unfeminine in his dramatic constructions and give voice to
the foreign woman in a Greek context. The rescue drama Ion presents rape
as a serious and complex social offense against women, but also shows a growing
attraction for dramatic resolution found in reconciliation and restoration of
domestic peace.
Aristophanes’ “women” plays (Lysistrata,
Thesmophoriazousai, Ekklesiazousai), while resting firmly on the comic
appeal of offering male stereotypes of women, also raise new social issues
regarding the role women played in Athenian civic and religious life, and
address Euripides’ approach to presentation of the tragic woman. Three of
Plautus’ “darker” social comedies (Bacchides, Casina, Truculentus) show
a continuing fascination with women at the center of dramatic structure and
offer significant voice to women’s comments on their public and domestic roles
in Hellenistic Greek society, and sometimes glimpses of their place in Roman
society. A selection of Hellenistic and late Greek mime scripts will help
further develop this picture of women’s dual lives and indicate some of the few
roles actually played by actresses on Greek and Roman stages. We will end with
Seneca’s Medea and Trojan Women to study his differing dramatic
techniques, philosophical concerns and Roman imperial impressions regarding
tragic Greek women.