Simus ergo hilares. Słów kilka o poematach epickich w interpretacji homerystów
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Date
2010
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Wydawnictwo Poznańskiego Towarzystwa Przyjaciół Nauk
Title alternative
Simus ergo Hilares. Several Words about Epic Poems in the Interpretation of Homerists
Abstract
The aim of this paper is to present a detailed picture of homeristai, the characteristic of the artists who have
been specialized in acting the scenes from Greek epic. It focuses on analysing the ancient sources relating to
their performances, and examines whether they had a burlesque or a more serious character. By providing information
on different aspects of the art of acting and the possible text used by homeristai, I try to reconstruct
the performances and their significance in the late Greek theatre.
Description
At the beginning of the Hellenistic era, Greek theatre became a universal entertainment in
the whole oikumene, and some of the reasons for this cultural success were the changes inside
the genres and series of reforms in the theatrical practice, among which very important was the
development of mime. The aim of this paper is to present a detailed analysis of the ancient sources
relating to the performances of homeristai, the most important of which are the Deipnosophists
of Athenaeus, Satiricon of Petronius and five papyri: P.Oxy. 519, 1.4; P.Oxy. 10.25, 1.8; P.Oxy.
1050, 1.26; SB 7336 1.26 et 29; P.Oslo 189 verso. I try to re-examine all the testimonies to present
a coherent picture of this type of mime, and investigate its origins, its theatrical practice and the
social status of its actors. Central in this discussion is the question of parodist nature of these performances.
The widely accepted opinion of burlesque character of the homerists’ shows is at odds
with the ancient testimonia, which in most cases do not attest their nature. The main testimony for
the ludic character of the performances is Petronius’ Satiricon. However, the work which seeks to
ridicule Trimalchio by means of grotesque exaggeration is not a credible source for determining
the nature of these presentations. The source of humour is not a distortion of Iliad by homeristai
but Trimalchio’s absurd translation and travesty of the text. Another important topic of this paper
is the actual text used during the performances. Giving priority to the role of dialogue in the performances,
I refuse the concept of homeristai playing a pantomime and I present possible “sripts”,
suggested by scholars, among which the most probable is P. Koln. VI 245.
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Keywords
Homeristai, Histriones, Greek theatre, Mime, Rhapsode, Homer
Citation
Symbolae Philologorum Posnaniensium, nr XX/2, 2010, s. 5-17
Seria
ISBN
978–83–7654–059–7
ISSN
0302–7384