Connecting the origins of tragic theatre to Dionysian rituals is a ruling and undisputed vulgata. The idea is supported by the (not always careful) reading of a series of Latin and Greek sources, and in analogies that would be found among the various performative expressions at different geographical, chronological, and cultural latitudes. The core of this thought – which presents itself as totalitarian in its assertiveness, but is very weak in its internal logical articulation – is to be discussed and confuted from different standpoints. The hypothesis that constitutes the argumentative skeleton of this essay is that the theatre is a properly Greek invention – placed with precision in Athens between the sixth and fifth centuries BC – that does not arise from a continuity with Dionysian rituals, but rather originates from a theoretically decisive break from the religious dimension of the rite. In support of this hypothesis, the essay proposes a new analysis of a series of ancient sources (from the Hellenistic age to the Byzantine Suda Lexicon) that have not always been considered with due attention or analysed with sharp hermeneutical intention.

Dal rito alla tragedia: Lo strappo originario e l'invenzione del teatro

Centanni, Monica
2019-01-01

Abstract

Connecting the origins of tragic theatre to Dionysian rituals is a ruling and undisputed vulgata. The idea is supported by the (not always careful) reading of a series of Latin and Greek sources, and in analogies that would be found among the various performative expressions at different geographical, chronological, and cultural latitudes. The core of this thought – which presents itself as totalitarian in its assertiveness, but is very weak in its internal logical articulation – is to be discussed and confuted from different standpoints. The hypothesis that constitutes the argumentative skeleton of this essay is that the theatre is a properly Greek invention – placed with precision in Athens between the sixth and fifth centuries BC – that does not arise from a continuity with Dionysian rituals, but rather originates from a theoretically decisive break from the religious dimension of the rite. In support of this hypothesis, the essay proposes a new analysis of a series of ancient sources (from the Hellenistic age to the Byzantine Suda Lexicon) that have not always been considered with due attention or analysed with sharp hermeneutical intention.
File in questo prodotto:
File Dimensione Formato  
2019_Dal rito alla tragedia_lo strappo originario e l_invenzione del teatro_IN_Il_Pensiero.pdf

non disponibili

Descrizione: articolo in rivista
Tipologia: Versione Editoriale
Licenza: DRM non definito
Dimensione 409.69 kB
Formato Adobe PDF
409.69 kB Adobe PDF   Visualizza/Apri   Richiedi una copia

I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.

Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11578/280962
Citazioni
  • ???jsp.display-item.citation.pmc??? ND
  • Scopus ND
  • ???jsp.display-item.citation.isi??? ND
social impact