COMIC BUSINESS This page intentionally left blank Comic Business Theatricality, Dramatic Technique, and Performance Contexts of Aristophanic Comedy MARTIN REVERMANN 1 3 GreatClarendonStreet,Oxfordox26dp OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwidein OxfordNewYork Auckland CapeTown DaresSalaam HongKong Karachi KualaLumpur Madrid Melbourne MexicoCity Nairobi NewDelhi Shanghai Taipei Toronto WithoYcesin Argentina Austria Brazil Chile CzechRepublic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore SouthKorea Switzerland Thailand Turkey Ukraine Vietnam OxfordisaregisteredtrademarkofOxfordUniversityPress intheUKandincertainothercountries PublishedintheUnitedStates byOxfordUniversityPressInc.,NewYork (cid:1)MartinRevermann2006 Themoralrightsoftheauthorshavebeenasserted DatabaserightOxfordUniversityPress(maker) Firstpublished2006 Allrightsreserved.Nopartofthispublicationmaybereproduced, storedinaretrievalsystem,ortransmitted,inanyformorbyanymeans, withoutthepriorpermissioninwritingofOxfordUniversityPress, orasexpresslypermittedbylaw,orundertermsagreedwiththeappropriate reprographicsrightsorganization.Enquiriesconcerningreproduction outsidethescopeoftheaboveshouldbesenttotheRightsDepartment, OxfordUniversityPress,attheaddressabove Youmustnotcirculatethisbookinanyotherbindingorcover andyoumustimposethesameconditiononanyacquirer BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressCataloginginPublicationData Dataavailable TypesetbySPIPublisherServices,Pondicherry,India. PrintedinGreatBritain onacid-freepaperby BiddlesLtd,King’sLynn,Norfolk. ISBN0-19-815271-X 978-0-19-815271-2 1 3 5 7 9 10 8 6 4 2 Preface Mydebtsaremany,andImaybeforgivenformentioningonlythose most obvious to me. Pride of place belongs to four inspiring and good-humoured friends: Ewen Bowie, Eric Csapo, Alan Sommer- stein, and Oliver Taplin. Ewen, Eric, and Alan generously read and commented on a number of sections at various stages. While my indebtednesstoOliver’sseminalpublishedworkisapparentonevery single page, his gentle, well-meaning, and open-minded personal guidance has been equally formative. To Edith Hall and Stephen HalliwellIowethanksforincisiveandbenigncriticism.NigelWilson generouslyallowedmetoconsultthemanuscriptofhisnewOxford ClassicalTextseditionofAristophanes. Ialsotakethisopportunitytoexpressmygratitudetothosewho, sometimeagoandintheirown(verydifferent)ways,nourishedmy enthusiasm for intellectual engagement with ancient culture: Dieter Bremer, Christian Gnilka, the late Friedhelm Moser, Rainer Spieker, WilfriedStroh,andthelateHermannWankel.Thanksarealsodueto a variety of institutions for granting material and immaterial sup- port,oftenoveryears:theStudienstiftungdesdeutschenVolkes(Bonn/ Berlin), the Rhodes Trust (Oxford), Corpus Christi College and Magdalen College (Oxford), Harvard’s Centre for Hellenic Studies (Washington, DC), as well as the University of Toronto. Merton College (Oxford) must be singled out. Its vibrant community pro- videdsupportandencouragementatanimportanttime. I conclude on a personal note. Annette Baertschi, ŒÆ(cid:1)(cid:2)(cid:3)æ (cid:4)(cid:5)º(cid:6)(cid:7)(cid:3)(cid:8) (cid:9)~PP(cid:10)Æ, was a noble, loving, and loyal companion for much of the journey, while I was blessed with the affection of Monika Delmos when completing it. Thanks which cannot be expressed in wordsIowetomyparents,especially mymother. This page intentionally left blank Contents ListofPlates ix ListofFiguresandTables xi ListofAbbreviations xii PART I. ISSUES 1. ComicBusiness 3 2. PerformanceCriticism:PointandMethods 8 2.1 Textsas(Competitive)Performances 8 2.2 ‘Performance’and‘Analysis’:Some ConceptualGroundwork 25 2.3 AnalyseWhat?ReconstructingaPerformance fromaText 46 3. TwoFundamentalProblems 66 3.1 HowAuthenticistheTransmittedPerformance ScriptinViewofReperformances? 66 3.2 HowTypicaloftheGenreisAristophanicComedy? 95 4. ApplyingPerformanceCriticism 107 4.1 Space 107 4.2 Proxemics 129 4.3 ComicUgliness 145 4.4 PerformanceandAudience 159 PART II. THREE PLAYS 5. Clouds 179 6. Lysistrata 236 7. Wealth 261 viii Contents APPENDICES A ComicBusinessinAristophanes’Rivals 299 B AuthorialStageDirectionsinAncientDramaticTexts? 320 C WhowastheSecondVersionofCloudsWrittenfor? 326 D PerformanceTime 333 References 338 Indexes 365 List of Plates 1. ApollopurifiesOrestes.Apulianbellcrater,c.370bce (Paris,LouvreCp710.Photo:M.andP.Chuzeville). 2. ‘Wu¨rzburgTelephus’.Apulianbellcrater,c.370bce (Wu¨rzburg,MartinvonWagnerMuseumH5697. Photo:K.O¨hrlein). 3. ‘BerlinHeracles’.Apulianbellcrater,375–350bce (formerlyBerlin,StaatlicheMuseenF3046,destroyed orplundered). 4. Apulianreliefguttus,c.330–320bce(Naples,Museo NazionaleSantangelo368). 5. ‘St.AgataAntigone’.Apulianbellcrater,c.370bce (S.AgatadeiGoti1,formerlyRainoneCollection.Drawing fromTaplinCA22afterPanofka). 6. Choregoivase.Apulianbellcrater,400–380bce (Malibu,J.P.GettyMuseum96.AE.29). 7. ‘ClevelandDionysus’.Apulianbellcrater,400–380bce (Cleveland,ClevelandMuseumofArt,JohnL.Severance Fund1989.73). 8. ‘GettyBirds’.Atticcalyxcrater,c.410bce (Malibu,J.P.GettyMuseum82.AE.83). 9. (a)and(b).‘Nikechous’.Atticjug,c.410bce (Paris,LouvreN3408.Photo:M.andP.Chuzeville). 10. Wingedphallussherd.Apulian,350–325bce (Boston,HarvardUniversityArtMuseumsTL39339.48). 11. Zeus,Hermes,and‘beautyinthewindow’.Paestanbell crater,c.350bce(Rome,VaticanU19(inv.17106). Photo:Scala/ArtResource,NewYork). 12. ChousfromAnavyssos.Atticjug,c.420bce (drawingbyE.R.Malyon).