Una aproximación a la sintaxis espacial de Suplicantes de Esquilo
Main Article Content
Abstract
The particular link that the leading chorus and the rest of the characters maintain with the theatrical space reveals the remarkable coherence between text and spectacle in the composition of the Suppliants of Aeschylus. On the one hand, the fact that actors and chorus share a single area in this drama, the orchestra, forces us to revise the organization of a space regularly dedicated to the chorus. On the other hand, the uninterrupted presence of the collective protagonist on the scene and the dynamics of arrivals and returns of the supporting characters encourage us to analize the somatic dimension of “spatial syntax”, according to Ruth Padel’s expression, considering the places that each character occupies during each conjuncture of the play. The aim of this article is to demonstrate that the dramatist altered and maximized the alternatives of use of the theatrical space in order to construct a dramatic space consistent with the redesign of the role of its available resources.
Downloads
Download data is not yet available.
Article Details
How to Cite
Fernández Deagustini, M. del P. (2016). Una aproximación a la sintaxis espacial de Suplicantes de Esquilo. Synthesis, 23, e005. Retrieved from https://www.synthesis.fahce.unlp.edu.ar/article/view/SYNe005
Issue
Section
Artículos
This work is licensed under a Creative Commons Attribution 4.0 International (https://creativecommons.org/licenses/by-nc-sa/4.0/deed.es).
References
Arnott, P. (1962) Greek Scenic Conventions in the Fifth Century B. C., Oxford.
Battezzato, L. (2005) “Lyric”, en Gregory, J. (ed.) A companion to Greek Tragedy, Malden, Oxford, Carlton: 149-166.
Di Marco, M. (2007) “Aesch. Suppl. 232: nota scenico-testuale”, Lexis 25: 185-191.
Fernández Deagustini, M. del P. (2015) Suplicantes de Esquilo. Una interpretación, La Plata. http://hdl.handle.net/10915/51947.
Ferrari, F. (1986) “Visualità e tragedia. Per una lettura scenica di Persiani, Sette contro Tebe e Supplici”, CCC 7: 133-154.
Garvie, A. F. (1969) Aeschylus’ Supplices. Play and Trilogy, Cambridge.
Ley, G. (2007) The Theatricality of Greek Tragedy. Playing Space and Chorus, Chicago.
Padel, R. (1992) “Making space speak”, en Winkler, J. - Zeitlin, F. (eds.) Nothing to do with Dionysos? Athenian Drama in its Social Context, Princeton: 336-365.
Pavis, P. (1998) Diccionario del teatro. Dramaturgia, estética, semiología, Barcelona.
Polacco, L. (1983) “Le Supplici come le rapprasentava Eschilo”, NAC XII: 65-89.
Rehm, R. (1988) “The Staging of Suppliant Plays”, GRBS 29.3: 263-307.
Rehm, R. (1992) Greek Tragic Theatre. Theatre Production Studies, London.
Rehm, R. (2002) The Play of Space. Spatial Transformation in Greek Tragedy, Princeton.
Sandin, P. (2003) Aeschylus’ Supplices. Introduction and Commentary on vv. 1-523, Göteborg.
Scullion, S. (1994) Three Studies in Athenian Dramaturgy, Stuttgart.
Sommerstein, A. H. (1996) Aeschylean Tragedy, Bari.
Sommerstein, A. H. (2008) Aeschylus. Persians, Seven against Thebes, Suppliants, Prometheus Bound, Cambridge, Massachusetts, London.
Stanley, A. E. (1970) Early Theatre Structures in Ancient Greece, Berkeley.
Taplin, O. (1977) The Stagecraft of Aeschylus. The Dramatic Use of Exits and Entrances in Greek Tragedy, Oxford.
Ubersfeld, A. (1977) Lire le théâtre, Paris.
West, M. L. (1979) “The Prometheus Trilogy”, JHS 99: 130-148.
Zeitlin, F. I. (1992) “Playing the Other: Theater, theatricality, and the feminine in Greek drama”, en Winkler, J. - Zeitlin, F. (eds.) Nothing to do with Dionysos? Athenian Drama in its Social Context, Princeton: 63-96.
Battezzato, L. (2005) “Lyric”, en Gregory, J. (ed.) A companion to Greek Tragedy, Malden, Oxford, Carlton: 149-166.
Di Marco, M. (2007) “Aesch. Suppl. 232: nota scenico-testuale”, Lexis 25: 185-191.
Fernández Deagustini, M. del P. (2015) Suplicantes de Esquilo. Una interpretación, La Plata. http://hdl.handle.net/10915/51947.
Ferrari, F. (1986) “Visualità e tragedia. Per una lettura scenica di Persiani, Sette contro Tebe e Supplici”, CCC 7: 133-154.
Garvie, A. F. (1969) Aeschylus’ Supplices. Play and Trilogy, Cambridge.
Ley, G. (2007) The Theatricality of Greek Tragedy. Playing Space and Chorus, Chicago.
Padel, R. (1992) “Making space speak”, en Winkler, J. - Zeitlin, F. (eds.) Nothing to do with Dionysos? Athenian Drama in its Social Context, Princeton: 336-365.
Pavis, P. (1998) Diccionario del teatro. Dramaturgia, estética, semiología, Barcelona.
Polacco, L. (1983) “Le Supplici come le rapprasentava Eschilo”, NAC XII: 65-89.
Rehm, R. (1988) “The Staging of Suppliant Plays”, GRBS 29.3: 263-307.
Rehm, R. (1992) Greek Tragic Theatre. Theatre Production Studies, London.
Rehm, R. (2002) The Play of Space. Spatial Transformation in Greek Tragedy, Princeton.
Sandin, P. (2003) Aeschylus’ Supplices. Introduction and Commentary on vv. 1-523, Göteborg.
Scullion, S. (1994) Three Studies in Athenian Dramaturgy, Stuttgart.
Sommerstein, A. H. (1996) Aeschylean Tragedy, Bari.
Sommerstein, A. H. (2008) Aeschylus. Persians, Seven against Thebes, Suppliants, Prometheus Bound, Cambridge, Massachusetts, London.
Stanley, A. E. (1970) Early Theatre Structures in Ancient Greece, Berkeley.
Taplin, O. (1977) The Stagecraft of Aeschylus. The Dramatic Use of Exits and Entrances in Greek Tragedy, Oxford.
Ubersfeld, A. (1977) Lire le théâtre, Paris.
West, M. L. (1979) “The Prometheus Trilogy”, JHS 99: 130-148.
Zeitlin, F. I. (1992) “Playing the Other: Theater, theatricality, and the feminine in Greek drama”, en Winkler, J. - Zeitlin, F. (eds.) Nothing to do with Dionysos? Athenian Drama in its Social Context, Princeton: 63-96.