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Historical Analysis Through Architecture: Determining Cultural Values of Ancient Greece and Rome Through the Study of the Theater at Epidauros and the Theater of Pompey

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Historical Analysis Through Architecture: Determining Cultural Values of Ancient Greece and Rome Through the Study of the Theater at Epidauros and the Theater of Pompey
Historical Analysis Through Architecture: Determining Cultural Values of Ancient Greece and Rome Through The Study of The Theater at Epidauros and The Theater of Pompey

In many ancient cultures, before written languages were created, the primary form of historical documentation was through story telling, which later developed into the art of theater. The origins of this art form can be traced back to Ancient Greece, which proved to be greatly influential on the culture of Ancient Rome. The theatrical arts serve as an exemplary source in understanding the culture of a civilization. Many would say that Architecture, if explored to its maximum potential, is also capable of weaving stories of its own. When carefully studied and analyzed, surviving buildings of significance reveal a plethora of historical knowledge, including cultural values and technological capabilities of the civilization of whence it was created. The designs of Roman and Greek theatres, specifically the theater at Epidauros and the Theater of Pompey, reveal a difference in cultural values of Ancient Greece and Rome. Greek theatre originates with the inebriated merriments of followers of Dionysus, the god of fertility and wine. Dancing, singing, and stories of Greek mythology began to take a choral form. In 6th century B.C., a priest of Dionysus engaged in a dialogue with the “chorus”, an element that marks the birth of theatre as its known today. Theatrical contests emerged and became a regular event within the annual festivities honoring Dionysus. Through the performances, the semblance of a theater begins to emerge. The chorus and actors would perform in a circular area called the orchestra, derived from orchester or dancer, with an altar in the center and a wooden structure (scene) behind it. Large masks were used for the purposes of costume and projection. Large amounts of citizens would gather and sit along the slope of the Athenian hillside overlooking the “stage”, setting



Bibliography: Berve, Helmut and Gottfried Gruben. Greek Temples, Theatres, and Shrines. New York: Harry N. Abrams, Inc., 1963. Chao, Tom Fossum, Andrew. "Harmony in the Theatre at Epidauros." American Journal of Archaeology 30, no. 1 (1926): 70-75. Packer, James Polster, Joshua. "The Theater of the Sanctuary of Asklepios at Epidaurus " Whitman College. http://www.whitman.edu/theatre/theatretour/epidaurus/commentary/epidaurus.commentary.htm (accessed 9/20, 2011). Richardson, L Scully, Vincent. Architecture: The Natural and the Manmade. 1st ed. New York City: St. Martin 's Press, 1991. Sear, Frank B [ 2 ]. Polster, Joshua. "The Theater of the Sanctuary of Asklepios at Epidaurus " Whitman College. http://www.whitman.edu/theatre/theatretour/epidaurus/commentary/epidaurus.commentary.htm (accessed 9/20, 2011). [ 3 ]. Fossum, Andrew. "Harmony in the Theatre at Epidauros." American Journal of Archaeology 30, no. 1 (1926): 70-75. [ 4 ]. Chao, Tom. "Mystery of Greek Amphitheater 's Amazing Sound Finally Solved." Live Science. http://www.livescience.com/7269-mystery-greek-amphitheater-amazing-sound-finally-solved.html (accessed 10/4, 2011). [ 5 ]. Richardson, L. Jr. "A Note on the Architecture of the Theatrum Pompei in Rome." American Journal of Archaeology 91, no. 1 (1987): 123-126, http://www.jstor.org/stable/505461 (accessed September 15, 2011). [ 7 ]. Scully, Vincent. Architecture: The Natural and the Manmade. 1st ed. New York City: St. Martin 's Press, 1991, 108-111.

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