Theatrica and political action in Plutarch's Parallel Lives
This thesis explores Plutarchâs use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarchâs use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my thesis examines. I am concerned with the performative aspect of the theatre. This envelops all the components which define the activity of the theatrical spectacle: the professionals involved in the production, from the sponsors, to the musicians and dancers, the actors and their performance, from its preparation to its presentation, the costumes, the props and the sets, the intention of the performance, the impact on and the reaction of the audience. Plutarch has two means of approaching the theatrical world. He draws on the reality of theatrical productions, showing an awareness of the technical demands involved
Dubreuil, RaphaĂ«la Jane
Plutarch ; politics ; theatre ; kings ; orators
Theatrica and political action in Plutarch's Parallel Lives. This thesis explores Plutarchâs use of metaphors and similes of the theatre in order to represent, explore and criticise political action in his Parallel Lives. Most of the studies available on Plutarchâs use of the theatre have tended to address his understanding and employment of the tragic, that is what is defined as tragedy as a genre from the conventions of language, plot and characterisation. This approach belongs to the textual, literary aspect of theatrical production, the word of the writer, and the interpretation of the reader. Although interlinked with my study, this is not what my thesis examines. I am concerned with the performative aspect of the theatre. This envelops all the components which define the activity of the theatrical spectacle: the professionals involved in the production, from the sponsors, to the musicians and dancers, the actors and their performance, from its preparation to its presentation, the costumes, the props and the sets, the intention of the performance, the impact on and the reaction of the audience. Plutarch has two means of approaching the theatrical world. He draws on the reality of theatrical productions, showing an awareness of the technical demands involved
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