A Splitting Headache

Mask and Performance at Plautus Epidicus 81-101

in Mnemosyne
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A Journal of Classical Studies


AuhagenU. AuhagenU. Epidicus im Dialog mit sich. Zur Selbstanrede bei Plautus und Menander am Beispiel des Epidicus Studien zur Plautus’ Epidicus 2001 Tübingen 205 218

BenzL.StärkE.Vogt-SpiraG. Plautus und die Tradition des Stegreifspiels: Festgabe für Eckard Lefèvre zum 60 Geburtstag 1995 Tübingen

CastellaniV. ‘Who Was That Masked Man?’ Plautus’ Play with Persona-Imago Zbornik. Journal of Classical Studies Matica Srpska 2011 13 95 112

De MeloW. Plautus: Casina. The Casket Comedy. Curculio. Epidicus. The Two Menaechmuses 2011 Cambridge, MA/London

DuckworthG.E. T. Macci Plauti Epidicus 1940 Princeton

DuncanA. Performance and Identity in the Classical World 2006 Cambridge

FanthamE. Plautus in Miniature: Compression and Distortion in the Epidicus 1981 3 1 28 Papers of the Liverpool Latin Seminar

FontaineM. Funny Words in Plautine Comedy 2009 Oxford

GoldbergS.M. Plautus’ Epidicus and the Case of the Missing Original TAPhA 1978 108 81 91

HardyC. The Parasite’s Daughter: Metatheatrical Costuming in Plautus’ Persa cw 2005 99 25 33

LoweJ.C.B. AuhagenU. Greek and Roman elements in Epidicus’ intrigue Studien zur Plautus’ Epidicus 2001 Tübingen 57 70

MarshallC.W. Quis Hic Loquitur? Plautine Delivery and the “Double Aside” SyllClass 1999 10 105 129

MarshallC.W. The Stagecraft and Performance of Roman Comedy 2006 Cambridge

MooreT.J. The Theater of Plautus: Playing to the Audience 1998 Austin

NixonP. Plautus: Casina. The Casket Comedy. Curculio. Epidicus. The Two Menaechmuses 1917 Cambridge, MA/London

SegalE. Roman Laughter: The Comedy of Plautus 1968 Cambridge, MA

SharrockA. Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence 2009 Cambridge

SlaterN. Plautus in Performance: The Theatre of the Mind 1985 Princeton

Van den HoutM.P.J. M. Cornelii Frontonis Epistulae 1988 Leipzig

WilesD. The Masks of Menander: Sign and Meaning in Greek and Roman Performance 1991 Cambridge

WilesD. Mask and Performance in Greek Tragedy: From Ancient Festival to Modern Experimentation 2007 Cambridge

WillcockM. Plautus and the Epidicus 1995 19 29 Papers of the Leeds International Latin Seminar 8


Duckworth 1940, 161-163; Slater 1985, 21-24; Willcock 1995, 25; Auhagen 2001, 205-208; Sharrock 2009, 119-120.


Vocal modulation: Slater 1985, 23. Marshall (2006, 159-160) shows that the direction in which the masked actor faces contributes to the audience’s awareness of stage action and speech: “The mask’s gaze is focused, and consequently the masked actor can direct the audience’s attention to a particular point on the stage. . . Clear, unambiguous head movement to the left or to the right is needed to indicate that a character is addressing an interlocutor”; cf. Marshall 1999.


Cf. Slater 1985, 24, n. 6; Moore 1998, 208, n. 29; Hardy 2005, 32; Sharrock 2009, 119; Castellani 2011, 101.


Nixon 1917, 287; Slater 1985, 22; De Melo 2011, 341.


See Duckworth 1940, 161 for this reading.


Marshall 2006, 155 and Wiles 1991, 110 (but cf. Wiles 2007, 2, where he draws a distinction between how the mask functions in comedy and in tragedy and says that tragic actors draw on their masks to become ‘other’ and to give themselves over to Dionysiac possession).


For examples, see Wiles 1991, 241, nn. 37 and 38; but cf. Marshall 2006, 155, who expresses some cautious skepticism about these scenes and their traditional interpretation.


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