1. Tatian, Oration To The Greeks, 24 (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •chorikios of gaza Found in books: Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 320 | 24. What advantage should I gain from him who is brought on the stage by Euripides raving mad, and acting the matricide of Alcmæon; who does not even retain his natural behaviour, but with his mouth wide open goes about sword in hand, and, screaming aloud, is burned to death, habited in a robe unfit for man? Away, too, with the mythical tales of Acusilaus, and Meder, a versifier of the same class! And why should I admire the mythic piper? Why should I busy myself about the Theban Antigenides, like Aristoxenus? We leave you to these worthless things; and do you either believe our doctrines, or, like us, give up yours. |
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2. Lucian, The Dance, 27 (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •chorikios of gaza Found in books: Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 320 | 27. In forming our estimate of tragedy, let us first consider its externals — the hideous, appalling spectacle that the actor presents. His high boots raise him up out of all proportion; his head is hidden under an enormous mask; his huge mouth gapes upon the audience as if he would swallow them; to say nothing of the chest-pads and stomach-pads with which he contrives to give himself an artificial corpulence, lest his deficiency in this respect should emphasize his disproportionate height. And in the middle of it all is the actor, shouting away, now high, now low, — chanting his iambics as often as not; could anything be more revolting than this sing-song recitation of tragic woes? The actor is a mouthpiece: that is his sole responsibility; — the poet has seen to the rest, ages since. From an Andromache or a Hecuba, one can endure recitative: but when Heracles himself comes upon the stage, and so far forgets himself, and the respect due to the lion-skin and club that he carries, as to deliver a solo, no reasonable person can deny that such a performance is in execrable taste. Then again, your objection to dancing — that men act women's parts — is equally applicable to tragedy and comedy, in which indeed there are more women than men. By comedy, the absurdity of the masks — of a Davus, for instance, or a Tibius, or a cook — is actually claimed as one of its attractions. On the other hand, I need not tell you how decent, how seemly, is the dancer's attire; any one who is not blind can see that for himself. His very mask is elegant, and well adapted to his part; there is no gaping here; the lips are closed, for the dancer has plenty of other voices at his service. In old days, dancer and singer were one: but the violent exercise |
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| 3. Lucian, Conversation With Cronus, 28 (2nd cent. CE - 2nd cent. CE) Tagged with subjects: •chorikios of gaza Found in books: Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 320 |
| 4. Gregory of Nyssa, Life of Makrina, 3 (4th cent. CE - 4th cent. CE) Tagged with subjects: •chorikios of gaza Found in books: Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 320 |
| 5. Choricius of Gaza, In Defence of The Mimes, 36-41 + 141 Tagged with subjects: •chorikios of gaza Found in books: Liapis and Petrides, Greek Tragedy After the Fifth Century: A Survey from ca (2019) 320 |
