Plautus by Rosario Lopez-Gregoris
Drama y dramaturgia en la escena romana, 2019
Este libro tiene por objetivo el estudio de la dramaturgia en el teatro latino, especialmente en ... more Este libro tiene por objetivo el estudio de la dramaturgia en el teatro latino, especialmente en las comedias plautinas, pero también en el teatro de Terencio y de Séneca. Los autores han pretendido ofrecer claves de interpretación del código ficcional con el que los romanos creaban y disfrutaban de su teatro, lo que enriquece notoriamente nuestra comprensión de los textos antiguos. Los elementos dramatúrgicos –las secuencias que estructuran las obras, las acotaciones escénicas, la relación de los personajes tipo con su modo de hablar, el significado dramatúrgico de los nombres parlantes, la función caracterizadora del discurso gnómico, la relevancia estructural de los elementos fónicos, etc.–, se abordan desde distintas disciplinas, como los Estudios Literarios, la Teatrología y la Lingüística, especialmente desde la Pragmática. Esperamos que el lector que se anime a abrir el libro lo cierre, si no seducido, sí convencido del caudal de saber, experiencia y capacidad creadora que atesora el teatro latino, textos que hablan de un mundo desaparecido y, sin embargo, aún vivo.
Ludi Plautini Sarsinaes. Personaggi in scena: Il miles.
Aunque no vaya caracterizado de soldado romano, el objetivo de este
trabajo es analizar como mile... more Aunque no vaya caracterizado de soldado romano, el objetivo de este
trabajo es analizar como miles el personaje interpretado por G. Clooney,
Harry Pfarrer, en la película de los hermanos Coen, Burn after Reading
(Quemar después de leer, A prova di spia, 2008 ), estrenada con gran éxito
de público y de crítica1. Se trata, en palabras de los directores2, de una parodia
del género de espías, recuerdo de las películas de la Guerra Fría entre
los bloques occidental y oriental, americano y ruso, después de la Segunda
Guerra Mundial.
Vita Latina
Cet article reprend les éléments constitutifs de l’épilogue des comédies de Térence afin de les a... more Cet article reprend les éléments constitutifs de l’épilogue des comédies de Térence afin de les analyser d'un point de vue dramaturgique et pragmatique et de déterminer les fonctions qu'ils remplissent dans la clôture de l'œuvre. Les épilogues de Térence, comparés à ceux de Plaute, introduisent certaines variantes qui entraînent un changement radical de la palliata, notamment avec l'absence frappante d'un lieu de passage entre la fiction de l'œuvre et la réalité du spectateur. Pour rendre ces clôtures plus efficaces, Térence introduit un élément novateur : représenter devant le public le dénouement et ne pas le laisser sous la forme d'un commentaire dans la bouche d'un acteur.
Anabases, 2019
Ce travail a pour objet le débat théorique qui suivit la publication de l’oeuvre Arte nuevo de ha... more Ce travail a pour objet le débat théorique qui suivit la publication de l’oeuvre Arte nuevo de hacer comedias (Nouvel art de faire des comédies) de Lope (1562-1635), lequel reprenait et normalisait un nouveau genre dramatique, la comédie de cape et d’épée, déjà largement consacré par son théâtre et destiné à être en vogue durant tout le Baroque espagnol. Le succès de cette preceptiva lopesque eut à n’en pas douter des conséquences inattendues sur la survie des modèles latins dans la culture espagnole.
Drama y dramaturgia en la escena romana, 2019
Función de los versos de cierre en las comedias de Plauto. Entre la dramaturgia y la pragmática.
Perífrasis, 2017
Resumen Este trabajo pretende determinar en qué ámbitos es posible identificar la influencia de l... more Resumen Este trabajo pretende determinar en qué ámbitos es posible identificar la influencia de las máscaras de la farsa atellana en la comedia latina palliata. También se discute en qué medida los rasgos específicos de la atellana, unidos a los personajes fijos de la comedia nueva griega, la Néa, explican la singularidad de la palliata y el éxito de Plauto ante el difícil público de Roma, habituado a una comicidad ligada a los sentidos. Palabras clave: farsa atellana, comedia latina palliata, comedia nueva griega (Néa), más-cara, personaje. Abstract This paper discusses where one can identify the influence of the masks of the Atellan farce on palliata Latin comedy. I also discuss to what extent the specific characteristics of the atellana, together with the fixed character types of Greek new comedy (Néa), explain the singularity of the palliata and the success of Plautus in front of the difficult Roman public, which was used to a comicality linked to the senses.
El objetivo de mi intervención son los personajes femeninos de la comedia plautina. Este es un de... more El objetivo de mi intervención son los personajes femeninos de la comedia plautina. Este es un detalle importante, porque los personajes femeninos son una invención, aunque no es descabellado suponer que Plauto se inspirase en mujeres reales contemporáneas para componer algunas de las características de los personajes femeninos que aparecen en sus comedias. En último instancia, se trata de llegar a la mujer real de aquella época a través de los personajes femeninos.
Este trabajo se acerca al concepto de originalidad en Plauto desde dos perspectivas; por un lado,... more Este trabajo se acerca al concepto de originalidad en Plauto desde dos perspectivas; por un lado, contextualiza las condiciones de producción de la obra plautina; por otro, explica la vis comica del lenguaje de Plauto, centrándose en los recursos de lengua más sobresalientes. Ambos puntos de vista explican la universalidad de la obra plautina. This paper deals with the concept of originality in Plautus comedies from two different points of view. On the one hand, it provides an analysis of the conditions of production of these works; on the other, it explains the Plautus' vis comica, paying attention to the most relevant linguistic means. Both approaches can explain the universality of plautine work.
Lecturae Plautinae (Sarsina), 2012
Tradición y traducción clásicas en América Latina, 2012
Lecturae Plautinae Sarsinates, 2013
L'uso del sensi come strumento di ricreazione scenica.
PAN, 3, 2014
This study starts off with a short historical overview of the role of women in Rome, reviewing bo... more This study starts off with a short historical overview of the role of women in Rome, reviewing both the Etruscan and the later Greek periods. Once the model of female behavior has been established by means of a catalogue of heroines, who all come to a bitter end (Virginia, Lucretia and Camilla, for example), we move on to deal with female figures in Latin theatre.
It is important to remember that Roman theatre has its origins in Greek New Comedy (Nea), which means that the characters are cast from models created by traditional Greek theatre. Even so, given that we are working with masks, Latin theatre, hand in hand with Plautus above all, was able to introduce novel elements.
From here, we move on to a relatively in-depth analysis of the following masks: the Meretrix, with its attributes and qualities, the uxor dotata, the anus ebriola, the uirgo and the ancilla. In our examination of these masks, we have focused on certain characters that are particularly relevant, such as the puellae of Poenulus or the mulieres of Rudens, in order to establish gradations of the types of prostitutes. Alcmena has also deserved special attention as an uxor dotata since she is an unusual Plautine creation. Staphyla and Lena are other characters that represent the stereotypical attributes of the mask of the anus ebriola, as the main character of the comedy Persa, a young girl named Virgo represents the attributes of a girl from a good family, in a comical manner. The catalogue ends with the servants, with special attention paid to Pardalisca for her fundamental role in Casina.
Finally we have centered our attention on the character of Phronesia, the prostitute in Truculentus, and on her Slave girl Astaphia. With these figures, our aim was to illustrate the modernity of their characters, their awareness as working women, their solidarity with those of their social class and their prominent role. Phronesia is a character that ticks all the boxes for representing the emaciated and avid Roman prostitute for whom the reader feels a strong attraction because of her analytical mind and the bravery she shows in her actions. In addition, her plot to trick the soldier Stratophanes with a false pregnancy, allows us to tackle some of the more delicate aspects of pregnancy in Rome.
Estudios sobre teatro romano: el mundo de los sentimientos y su expresión, 2012
"Ancient Comedy and Reception. Essays in Honor of Jeffrey Henderson", Edited by S. Douglas Olson, W. De Gruyter, Boston-Berlín, 2013.
"Amphitruo and Menaechmi, the two Plautine comedies of double identity, have been the most fortun... more "Amphitruo and Menaechmi, the two Plautine comedies of double identity, have been the most fortunate. The reception of the first in particular involved a successive process of translation, adaptation and imitation between the 16th and 18th centuries. This process seems to repeat itself during the 19th and 20th centuries. Menaechmi went from an anonymous translation to Timoneda’s adaptation, but its main story line was complicated before long with twins of different sexes or of different upbringing, royal and rustic. In the last two centuries, this twin theme has come back into force, and new adaptations of the Plautine text are being created for the stage.In the second part of this chapter, we consider the antecedents of Plautus’ recovery, which was at first merely nominal and linked with Terence. The true recovery of Plautus is seen in the novel La Celestina, although he is not cited and the social reality of the author often imposes itself on the Roman model, which in turn comes from Italian adaptations of Plautus. Lope de Vega re-introduced the cunning slave figure in his development of the gracioso; and the Comedies of the Golden Age, with their successors until the 18th century, brought about the recovery of the Miles Gloriosus through the figurón. The interest of 19th-century scholars enabled the historiography recovery of Plautus and his work in Spain, resulting in an interest in a complete translation of his comedies, completed in the 20th century.
Knowledge of Terence was produced by the edition of the comedies (in 1498), by the first translation into Spanish (in 1577) and through the use of his comedies to learn Latin. To understand his influence in Spanish literature, we must assess the poetic assimilation since the 16th century. Terence’s capacity of combining argument and scenic development, the clarity of his dialogues and the drawing of his char- acters, the elegance, purity and finesse of his words, and the efficiency of his language for memorizing sentences—along with his soft and intelligent humor— made him an ideal author. The use of the verses to make ironic remarks about “vices” or customs of daily life was the means to introduce Terence in proverbs and popular culture."
En los orígenes de la comedia romana se encuentran al menos dos grandes influencias, cuyo ensambl... more En los orígenes de la comedia romana se encuentran al menos dos grandes influencias, cuyo ensamblaje ha dado lugar a la idiosincrasia del teatro cómico romano. Por un lado, el elemento griego, los llamados modelos de la comedia Nueva griega, cultivado por Menandro, Dífilo y Filemón, entre otros, que, según la teoría comúnmente aceptada, son las fuentes escritas esenciales sobre las que se levantó la comedia latina; y el elemento latino, aquel que procedía de las tradiciones ancestrales de los habitantes de Italia, un ingrediente autóctono, oral, basado en la improvisación, y fuertemente satírico e irreverente.
Amor y sexo en la literatura latina , 2014
The aim of this paper is to review the fictional and metatheatrical functions of the opening scen... more The aim of this paper is to review the fictional and metatheatrical functions of the opening scenes of Plautine comedies, in order to analyze the so called retarded prologues, specifically those of Cistellaria and Miles gloriosus. In doing so, this work will check to what extent the juxtaposition of opening scenes in these two comedies repeats several functions, or creates a new way, longer and more surprising for the Roman audience, of prolonging a comedy.
Tradition and Reception by Rosario Lopez-Gregoris
The Hero Reload, 2020
What was a hero in Classical Antiquity? Why is it that their characteristics have transcended
chr... more What was a hero in Classical Antiquity? Why is it that their characteristics have transcended
chronological and cultural barriers while they are still role models in our days? How
have their features changed to be embodied by comic superheroes and film? How is their
essence vulgarized and turned into a mass consumption product? What has happened with
their literary and artistic representation along centuries of elitist Western culture?
Female Leadership at Greco-Roman Antiquity. A model
Uploads
Plautus by Rosario Lopez-Gregoris
trabajo es analizar como miles el personaje interpretado por G. Clooney,
Harry Pfarrer, en la película de los hermanos Coen, Burn after Reading
(Quemar después de leer, A prova di spia, 2008 ), estrenada con gran éxito
de público y de crítica1. Se trata, en palabras de los directores2, de una parodia
del género de espías, recuerdo de las películas de la Guerra Fría entre
los bloques occidental y oriental, americano y ruso, después de la Segunda
Guerra Mundial.
It is important to remember that Roman theatre has its origins in Greek New Comedy (Nea), which means that the characters are cast from models created by traditional Greek theatre. Even so, given that we are working with masks, Latin theatre, hand in hand with Plautus above all, was able to introduce novel elements.
From here, we move on to a relatively in-depth analysis of the following masks: the Meretrix, with its attributes and qualities, the uxor dotata, the anus ebriola, the uirgo and the ancilla. In our examination of these masks, we have focused on certain characters that are particularly relevant, such as the puellae of Poenulus or the mulieres of Rudens, in order to establish gradations of the types of prostitutes. Alcmena has also deserved special attention as an uxor dotata since she is an unusual Plautine creation. Staphyla and Lena are other characters that represent the stereotypical attributes of the mask of the anus ebriola, as the main character of the comedy Persa, a young girl named Virgo represents the attributes of a girl from a good family, in a comical manner. The catalogue ends with the servants, with special attention paid to Pardalisca for her fundamental role in Casina.
Finally we have centered our attention on the character of Phronesia, the prostitute in Truculentus, and on her Slave girl Astaphia. With these figures, our aim was to illustrate the modernity of their characters, their awareness as working women, their solidarity with those of their social class and their prominent role. Phronesia is a character that ticks all the boxes for representing the emaciated and avid Roman prostitute for whom the reader feels a strong attraction because of her analytical mind and the bravery she shows in her actions. In addition, her plot to trick the soldier Stratophanes with a false pregnancy, allows us to tackle some of the more delicate aspects of pregnancy in Rome.
Knowledge of Terence was produced by the edition of the comedies (in 1498), by the first translation into Spanish (in 1577) and through the use of his comedies to learn Latin. To understand his influence in Spanish literature, we must assess the poetic assimilation since the 16th century. Terence’s capacity of combining argument and scenic development, the clarity of his dialogues and the drawing of his char- acters, the elegance, purity and finesse of his words, and the efficiency of his language for memorizing sentences—along with his soft and intelligent humor— made him an ideal author. The use of the verses to make ironic remarks about “vices” or customs of daily life was the means to introduce Terence in proverbs and popular culture."
Tradition and Reception by Rosario Lopez-Gregoris
chronological and cultural barriers while they are still role models in our days? How
have their features changed to be embodied by comic superheroes and film? How is their
essence vulgarized and turned into a mass consumption product? What has happened with
their literary and artistic representation along centuries of elitist Western culture?
trabajo es analizar como miles el personaje interpretado por G. Clooney,
Harry Pfarrer, en la película de los hermanos Coen, Burn after Reading
(Quemar después de leer, A prova di spia, 2008 ), estrenada con gran éxito
de público y de crítica1. Se trata, en palabras de los directores2, de una parodia
del género de espías, recuerdo de las películas de la Guerra Fría entre
los bloques occidental y oriental, americano y ruso, después de la Segunda
Guerra Mundial.
It is important to remember that Roman theatre has its origins in Greek New Comedy (Nea), which means that the characters are cast from models created by traditional Greek theatre. Even so, given that we are working with masks, Latin theatre, hand in hand with Plautus above all, was able to introduce novel elements.
From here, we move on to a relatively in-depth analysis of the following masks: the Meretrix, with its attributes and qualities, the uxor dotata, the anus ebriola, the uirgo and the ancilla. In our examination of these masks, we have focused on certain characters that are particularly relevant, such as the puellae of Poenulus or the mulieres of Rudens, in order to establish gradations of the types of prostitutes. Alcmena has also deserved special attention as an uxor dotata since she is an unusual Plautine creation. Staphyla and Lena are other characters that represent the stereotypical attributes of the mask of the anus ebriola, as the main character of the comedy Persa, a young girl named Virgo represents the attributes of a girl from a good family, in a comical manner. The catalogue ends with the servants, with special attention paid to Pardalisca for her fundamental role in Casina.
Finally we have centered our attention on the character of Phronesia, the prostitute in Truculentus, and on her Slave girl Astaphia. With these figures, our aim was to illustrate the modernity of their characters, their awareness as working women, their solidarity with those of their social class and their prominent role. Phronesia is a character that ticks all the boxes for representing the emaciated and avid Roman prostitute for whom the reader feels a strong attraction because of her analytical mind and the bravery she shows in her actions. In addition, her plot to trick the soldier Stratophanes with a false pregnancy, allows us to tackle some of the more delicate aspects of pregnancy in Rome.
Knowledge of Terence was produced by the edition of the comedies (in 1498), by the first translation into Spanish (in 1577) and through the use of his comedies to learn Latin. To understand his influence in Spanish literature, we must assess the poetic assimilation since the 16th century. Terence’s capacity of combining argument and scenic development, the clarity of his dialogues and the drawing of his char- acters, the elegance, purity and finesse of his words, and the efficiency of his language for memorizing sentences—along with his soft and intelligent humor— made him an ideal author. The use of the verses to make ironic remarks about “vices” or customs of daily life was the means to introduce Terence in proverbs and popular culture."
chronological and cultural barriers while they are still role models in our days? How
have their features changed to be embodied by comic superheroes and film? How is their
essence vulgarized and turned into a mass consumption product? What has happened with
their literary and artistic representation along centuries of elitist Western culture?