By Gwendolyn Compton-Engle
This booklet bargains an interpretation of the dealing with of gown within the performs of the fifth-century comedian poet Aristophanes. Drawing on either textual and fabric proof from the fourth- and fifth-century Greek international, it examines 3 layers of gown: the bodysuit worn through the actors, the characters' outfits, and the extra layering of conceal. A bankruptcy is usually dedicated to the creative costumes of the comedian refrain. Going past describing what costumes gave the look of, the publication focuses in its place at the dynamics of dress because it is manipulated via characters within the functionality of performs. The publication argues that gown is used competitively, as characters deal with every one other's costumes and poets vie for prestige utilizing dress. This argument is proficient via functionality stories and through analyses of gender and the physique.
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Extra info for Costume in the Comedies of Aristophanes
These tights, indicated by lines at wrists and ankles, can be seen on numerous vase paintings from both Attica and Magna Graecia, as well as dozens of terracotta figurines. e. 22 It seems clear that the leggings and sleeves were supposed to represent skin: even stage-naked characters wear them. ”23 Yet while the comic bodysuit represents skin, it does so with nowhere near the degree of verisimilitude that one would find, for example, on the costumes of modern figure skaters. While this difference 23 24 Costume i n the Comedies o f A r isto p han es 8.
The technical term used in later antiquity for this theatrical bodysuit is σωμάτιον, “little body”; henceforth I will employ somation to denote the actor’s body costume. ”2 This body costume is so prominent in depictions of comic scenes in vase painting that the clothing itself – tunic or himation, or both – worn by the character often seems trivial in comparison. This chapter examines the comic body costume from four points of view: first, the contributions of the visual record to our understanding of the body as staged in comic performances; second, some common patterns of bodily manipulation in Aristophanes; third, the comic body as figure of gluttony and outrageous demagoguery in Knights; fourth, the thematic interweaving of body and textiles in Lysistrata.
In another sense, much of the Odyssey plays out the tension between Odysseus’s humble appearance and his heroic stature. Just as Patroclus cannot become Achilles simply by wearing his armor, so a comic character cannot attain a new status simply by donning its external trappings. This is most evident in Wasps, where Bdelycleon attempts to make his father into a more sophisticated man by dressing him in stylish, aristocratic clothes (1122–73). The failure of this enterprise entertains the audience for the remainder of the play.
Costume in the Comedies of Aristophanes by Gwendolyn Compton-Engle