Roman comedy and the final dance
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Outros Autores: | , , |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Classica (Sociedade Brasileira de Estudos Clássicos. Online) |
Texto Completo: | https://revista.classica.org.br/classica/article/view/1076 |
Resumo: | Dance pervaded Roman theater, and in Plautus’ Persa, Pseudolus, and Stichus characters refer explicitly to their own dancing very near the end of the play. Of the remaining twenty-three extant plays of Plautus and Terence, twenty include scenes of lively motion performed in accompanied meters either in their final scenes or just before, or at the moment of the play’s climactic crisis or its resolution. These scenes of lively motion near the ends of plays often share metrical features with the scenes of explicit dance, and some plays may include metatheatrical allusions to a final dance. It therefore seems very likely that Roman comic playwrights almost always made a point of including an exuberant dance at a significant moment at or near the ends of their plays. |
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Classica (Sociedade Brasileira de Estudos Clássicos. Online) |
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Roman comedy and the final danceA comédia romana e a dança finalRoman comedy; dance; meterComédia romana; metro; dançaDance pervaded Roman theater, and in Plautus’ Persa, Pseudolus, and Stichus characters refer explicitly to their own dancing very near the end of the play. Of the remaining twenty-three extant plays of Plautus and Terence, twenty include scenes of lively motion performed in accompanied meters either in their final scenes or just before, or at the moment of the play’s climactic crisis or its resolution. These scenes of lively motion near the ends of plays often share metrical features with the scenes of explicit dance, and some plays may include metatheatrical allusions to a final dance. It therefore seems very likely that Roman comic playwrights almost always made a point of including an exuberant dance at a significant moment at or near the ends of their plays.A dança tomava conta do teatro romano e, em Persa, Pseudolus e Stichus, de Plauto, as personagens, muito perto do final da peça, referem-se explicitamente a seu próprio ato de dançar. Das restantes vinte e três peças existentes de Plauto e Terêncio, vinte incluem cenas de animada movimentação executadas em metros acompanhados, ou nas suas cenas finais, ou um pouco antes, ou no momento do clímax do problema da peça ou da sua resolução. Estas cenas de animada movimentação perto do fim das peças partilham frequentemente características métricas com as cenas de dança explícita, e algumas peças podem incluir alusões metateatrais a uma dança final. Parece, portanto, muito provável que os dramaturgos cômicos romanos fizessem quase sempre questão de incluir uma dança especialmente elaborada num momento significativo no final ou perto do final das suas peças.Sociedade Brasileira de Estudos Clássicos (SBEC)2023-12-06info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdftext/htmlhttps://revista.classica.org.br/classica/article/view/107610.24277/classica.v36.2023.1076Classica; Vol. 36 (2023): Publicação contínuaClassica - Revista Brasileira de Estudos Clássicos; v. 36 (2023): Publicação contínua2176-64360103-431610.24277/classicaj.36.2023reponame:Classica (Sociedade Brasileira de Estudos Clássicos. Online)instname:Sociedade Brasileira de Estudos Clássicos (SBEC)instacron:SBECporhttps://revista.classica.org.br/classica/article/view/1076/1109https://revista.classica.org.br/classica/article/view/1076/1137Copyright (c) 2023 Timothy J. Moore; Beethoven Alvarez, Gabriela Gonsalves, Renan Rodriguezhttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessMoore, Timothy J.Alvarez, BeethovenGonsalves, GabrielaRodriguez, Renan2023-12-21T12:54:39Zoai:oai.classica.emnuvens.com.br:article/1076Revistahttps://revista.classica.org.br/classicaPUBhttps://revista.classica.org.br/classica/oaieditor@classica.org.br||revistaclassica@classica.org.br2176-64360103-4316opendoar:2023-12-21T12:54:39Classica (Sociedade Brasileira de Estudos Clássicos. Online) - Sociedade Brasileira de Estudos Clássicos (SBEC)false |
dc.title.none.fl_str_mv |
Roman comedy and the final dance A comédia romana e a dança final |
title |
Roman comedy and the final dance |
spellingShingle |
Roman comedy and the final dance Moore, Timothy J. Roman comedy; dance; meter Comédia romana; metro; dança |
title_short |
Roman comedy and the final dance |
title_full |
Roman comedy and the final dance |
title_fullStr |
Roman comedy and the final dance |
title_full_unstemmed |
Roman comedy and the final dance |
title_sort |
Roman comedy and the final dance |
author |
Moore, Timothy J. |
author_facet |
Moore, Timothy J. Alvarez, Beethoven Gonsalves, Gabriela Rodriguez, Renan |
author_role |
author |
author2 |
Alvarez, Beethoven Gonsalves, Gabriela Rodriguez, Renan |
author2_role |
author author author |
dc.contributor.author.fl_str_mv |
Moore, Timothy J. Alvarez, Beethoven Gonsalves, Gabriela Rodriguez, Renan |
dc.subject.por.fl_str_mv |
Roman comedy; dance; meter Comédia romana; metro; dança |
topic |
Roman comedy; dance; meter Comédia romana; metro; dança |
description |
Dance pervaded Roman theater, and in Plautus’ Persa, Pseudolus, and Stichus characters refer explicitly to their own dancing very near the end of the play. Of the remaining twenty-three extant plays of Plautus and Terence, twenty include scenes of lively motion performed in accompanied meters either in their final scenes or just before, or at the moment of the play’s climactic crisis or its resolution. These scenes of lively motion near the ends of plays often share metrical features with the scenes of explicit dance, and some plays may include metatheatrical allusions to a final dance. It therefore seems very likely that Roman comic playwrights almost always made a point of including an exuberant dance at a significant moment at or near the ends of their plays. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-12-06 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revista.classica.org.br/classica/article/view/1076 10.24277/classica.v36.2023.1076 |
url |
https://revista.classica.org.br/classica/article/view/1076 |
identifier_str_mv |
10.24277/classica.v36.2023.1076 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revista.classica.org.br/classica/article/view/1076/1109 https://revista.classica.org.br/classica/article/view/1076/1137 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Timothy J. Moore; Beethoven Alvarez, Gabriela Gonsalves, Renan Rodriguez http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Timothy J. Moore; Beethoven Alvarez, Gabriela Gonsalves, Renan Rodriguez http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf text/html |
dc.publisher.none.fl_str_mv |
Sociedade Brasileira de Estudos Clássicos (SBEC) |
publisher.none.fl_str_mv |
Sociedade Brasileira de Estudos Clássicos (SBEC) |
dc.source.none.fl_str_mv |
Classica; Vol. 36 (2023): Publicação contínua Classica - Revista Brasileira de Estudos Clássicos; v. 36 (2023): Publicação contínua 2176-6436 0103-4316 10.24277/classicaj.36.2023 reponame:Classica (Sociedade Brasileira de Estudos Clássicos. Online) instname:Sociedade Brasileira de Estudos Clássicos (SBEC) instacron:SBEC |
instname_str |
Sociedade Brasileira de Estudos Clássicos (SBEC) |
instacron_str |
SBEC |
institution |
SBEC |
reponame_str |
Classica (Sociedade Brasileira de Estudos Clássicos. Online) |
collection |
Classica (Sociedade Brasileira de Estudos Clássicos. Online) |
repository.name.fl_str_mv |
Classica (Sociedade Brasileira de Estudos Clássicos. Online) - Sociedade Brasileira de Estudos Clássicos (SBEC) |
repository.mail.fl_str_mv |
editor@classica.org.br||revistaclassica@classica.org.br |
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1797239836249161728 |