Indexes
Index of Passages Discussed
Ancient Authors
Acts of John 94–102
95–102
Aeschylus
Agamemnon
1072–1294
135–136
Eumenides
244–275
43–44
307–396
148
Persians
246–248
142
TrGF iii, T 127 (Radt) = Dionysius of Halicarnassus
De imitatione
2 fr. 6.2.10
147
(Ps.-)Aeschylus
Prometheus Bound
561–608
133–134, 138–145
566–588
134
640–686
134–136
877–886
145–146
Alcestis Barcinonensis
11n, 86
Ambrose
De virginibus
3.5.25–3.6.31
194–199
Aphthonius
Fabulae
8
Apuleius
Metamorphoses
1.4.4–5
86–87
2.17
7
10.29–34
87–88
10.32
198, 275
Archilochus
fr. 304 W
172
Aristaenetus
Epistles
1.26
334
Aristides Quintilianus
De musica
3.25
91
Aristophanes
Acharnians
179, 204–205
44
Birds
294–310, 326–335
51
1188–1198
43
1373–1374
51
Frogs
316–459
45
1309–1323
9
Peace
58–176
45–46
287–288, 296–298
46–47
301–345
46–48
464–465, 469, 481, 485, 512–519, 583
48
Wasps
179
44
204–205
44
220, 230–289, 334–345, 365–378, 1060–1070, 1091–1101
43
1450–1481
48–49
1484–1515, 1529–1530
49
Wealth
253–289, 291
52
Women at the Thesmophoria
101–129
9
655–666
44
655–687
94n30
947–1000
45
Fr. 696 PCG = Athenaeus
1.21e
41
Aristotle
Poetics
1447a18–28
3
1447a26–28
40, 72, 131
1449b
91
1460a5–11
72
Rhetoric
3.16.10, 1417a–b
20
Fr. 15 Ross = Synesius, Dio 8.48a p. 254, 8–12 Terzaghi
92
Aristoxenus
Elementa Rhythmica
5
59
Athenaeus
Deipnosophistae
1.21d–e
132
1.22a = TrGF i, 1 T 11
40
4.154c
187
4.155e
187
Augustine
Confessions
6.8.13, 10.55
205
On the Teacher (De magistro)
10.32
84
Basil of Seleucia
Sermo
103, PG 85.228
204
Bible
Genesis
3.1
201
4.10
204
40.18–22
188
Isaiah
40.3
199
John
1.23
199
Leviticus
18.16, 20.21
184
Luke
7:31–32
96
9.7–9
183
Mark
6.14–29
182–183, 209–211
14:26
96
Matthew
11:16–17
96
14:6
183
26:30
96
Catullus
63.23
198
Chamaeleon
Fr. 41 Wehrli = TrGF iii, T103
40
Cicero
Pro Murena
6.13
197
Cleanthes
SVF 1
538
92
Clement of Alexandria
Protrepticus
2.12
94n30
Dance of the Saviour around the Cross
96
Demetrius
De elocutione
169
147n60
Dio Cassius
Roman History
47.8
188–189
Dio of Prusa
Oratio
12.33–34
93
Dionysius Halicarnassus
De imitatione 2
fr. 6.2.10 = TrGF iii, T 127
147
Euphorion of Chalcis
Historical Notes
fr. 4, FHG iii.72 = fr. 173 van Groningen
187n22
Euripides
Andromache
9–11
174
261–273
174
1085–1165
160–174
Electra
439
172
Phoenician Women
301 ff.
130
Trojan Women
305–306
142
307 ff.
130, 148
Gorgias
Fr. 11.8–9 Diels / Kranz
20
Gospel of the Saviour
96
Homer
Iliad
20.353
171
Odyssey
19.361
20
Homeric Hymn to Apollo
163–164
159
Ilias Parva
fr. 14
174
Jerome
Against Rufinum
3.42.22
189–190
Commentary on Matthew
2.14.6
188
2.14.11
185–186
John Chrysostom
Homilies on Colossians
12.5, PG 62, 387
90
On the Sermon on the Mount
38, PG 58, 492
204
[John Chrysostom]
Sermon
PG 59, 524
205n68
Juvencus
Evangeliorum libri
3.33–69
190–193
Libanius
Defence of Dancers (Oration 64)
13–14
90n
104
334
Livy
39.42–43
184–185
Lucan
Bellum Civile
8.663–667
193
Lucian
On Dancing
9
168
15
90
36
102
65
102
62–64
8, 102
83–84
149
85
334
Macrobius
Saturnalia
2.7.15–17
149
Ovid
Metamorphoses
10.298–502
337
10.489–498
340–341
10.509
341
10.512
341
11.7
193
Paulinus of Nola
Carmen
6.236–237
193
25.113–140
199–201
Pausanias
10.26.4
168
Pelagius
De divitiis
6
190
Peri tragōdias
11.91–92
129
Peter Chrysologus
Sermon
83.13
209
127.8–10
201–203
127.68
209
155.29
209
174.2
203–204
174.5–6
199, 204
173.7
208–209
Philoxenus
Cyclops or Galatea
52
Pindar
Nemean
7
161
Paian
6
161
6.105–120
165, 173
6.113–115
172
Plato
Euthydemus
277d–e
90–91
Laws
657d
159
791a
91
Phaedrus
249d–250c
89
Republic
397a–b
146
Timaeus
44b 3, 88d–e
91n22
Plutarch
Isis and Osiris 77
Life of Crassus
33.1–4
207–208, 211
Progress in virtue 10
Moralia
81e
92
Moralia
382d–e
93
Table Talk (Quaestiones convivales)
747c
65
747e
72
732 f.
132
Pratinas
fr. 708, 6–7 PMG
40
Quintilian
Institutio Oratoria
11.3.71
198n48
Sappho
Fr. 31. 5–16 Voigt
146
Scholia on Euripides
Orestes
168
142
Seleucus
FGrH 341 F *4 = fr. 80 Müller
187
Seneca the Elder
Controversiae
1.9
186–187
Seneca the Younger
Epistle
90.28
92
Sophocles
TrGF iv, T 2, 7
41
Strabo
10.3.10, 468C
90n
Strattis
Cinesias
fr. 16 PCG
52
Synesius
Dio 8.48a p. 254, 8–12 Terz. = Arist. Fr. 15 Ross
92
Theocritus
Idyll
15.140
168
Thucydides
2.16–17
47
Timotheus of Miletus
fr. 793 PMG
40
TrGF i, 1 T 11 = Athenaeus 1.22a
40
Vergil
Aeneid
2.557–558
193
Georgics
4.520–527
193
Xenophon
Apology
27
66
Art of Horsemanship
1.8, 7.10–11, 10.5
68
10.16–17
68–69
Cyropedia
5.1.4–5, 6.4.19–20, 7.1.49
68
Memorabilia
3.10.1–5
60–62
3.10.6–8
62–63
On Hunting
3.3
67
Symposium
1.10
67–68
1.11
75
2.7–14
6, 73–74
2.15–16
74
2.21–23
74–75
7.5
6, 75n41
9.2–7
50, 53, 75–77
Modern Authors
Gasparo Angiolini
Das steinerne Gastmahl
2[r]–2[v]
271
5[r]–5[v]
271–272
Lettere di Gasparo Angiolini a Monsieur Noverre,
4, 17–18, 82, 83
273
Theseus in Kreta
4[r]
279
Gasparo Angiolini / Ranieri Calzabigi
Dissertation sur les ballets pantomimes des Anciens
238
2
274
13–14
274–275
23
273
30, 31
274
Roland Barthes
A Lover’s Discourse: Fragments
1
122
2
112
3–4
111
4
122
6
121
8
112–113
How to Live Together
10
112
Charles Batteux
Les beaux arts réduits à un même principe
59
259
79
278
226–338
259
Louis de Cahusac
La Danse ancienne et moderne
VI–X, XVI
259
Gaston Calmette
A Propos d’ un Faune
1
285, 294
Un Faux Pas
1
286
Charles-Louis Didelot
The Happy Shipwreck, or the Scotch Witches
241
Jean Baptiste Dubos
Réflexions critiques sur la poësie et sur la peinture
232, 234, 239–243, 284–290
258–259
Isadora Duncan
The Dance of the Future
54, 57, 62
289
Maurice Emmanuel
La danse grecque antique
287–289
John Fawcett
The Enchanted Island
242
Henri Gautier-Villars
Deux Ballets Russes
1–3
294–295
2
287
Uzma Hameed
Life (Re-)Writing
2–3
227–228
5
226, 227
6
228
Louis Henry
Hamlet, Act iii, Scene
2
245
William Hogarth
Analysis of Beauty
126
265
Gennaro Magri
Trattato teorico-prattico di ballo, vol. 1
109
277
Jean Georges Noverre
Agamemnon vengé—Der gerächte Agamemnon
462
262
Euthyme et Eucharis
A3[r]
258, 267
Lettres sur la Danse et sur les Ballets
261–262
270
Lettres sur les arts imitateurs
93
263
146
265, 267
313
265
389–399
263, 267
390
268–269
397–398
269–270
Das Urtheil des Paris
264
Iphigeneia in Tauris
A3[v]
264
B3[r]
264–265
15–16
265–266
26
263–264
William Shakespeare
Romeo and Juliet
2.1.41–47
253–254
2.1.108–111
250
2.1.149–157
251–252
Noé Soulier
Actions, mouvements et gestes
12
111, 120, 121
21
111
33, 52
120
61, 64
121
88–90
116
134, 135
123
Meg Stuart / Damaged Goods
Hunter Presskit
2
218–219, 230
14
218
G. Talmont
Comment Madame Mariquita monte un ballet
290
John Weaver
An Essay towards an History of Dancing
258
The Loves of Mars and Venus
258
The History of the Mimes and the Pantomimes
258
Virginia Woolf
The Waves
7
111
18
118
33
119–120
50, 91
122
93
118
95
112
110
122–123
175
114
183
118, 123
195, 197
122–123
205
123
227, 232
112
Zeami
Fūshikaden (Teachings on Style and the Flower)
150–151
Kakyō, A mirror held to the flower
150
Andros Zins-Browne
The Lac of Signs Program Leaflet
115
Subject Index
Achilles
171–172
acrobacy, acrobatics
6, 73, 86–87, 261, 273, 278
action (danced)
40, 72–73, 84, 109, 111, 116, 117, 120–124, 131, 133, 165, 173–174, 206, 241, 259, 263–264, 275–278, 323, 326
actors, dancing
40–41, 129–131, 150–151, 263–265, 267–273, 278–279, 314
Agave
207, 208
amnesty
197, 198
anapaests
45, 142, 145
Andromache
160–161
Angiolini, Gasparo
215, 229, 238–239, 259–261, 267, 268, 270–279
Antony
188, 189
Aphrodite (goddess)
7, 8, 303, 305, 308, 309, 316–318, 320, 344
Aphrodite (opera)
285, 296
archaeology
6, 287, 335–336, 347
arena
202, 203
Ares
8
Ariadne and Dionysus
75–76
arms (body part)
117, 119, 249, 250, 251, 263, 267–268, 270–271, 273–274, 276–277, 287, 290, 320, 336, 340
Asclepius
87
Ashmolean Museum of Art and Archaeology
332–344
Athens
45, 47, 160
attentiveness, foci of
109, 111, 121
attitude, corporeal
68–69
audience
see spectator
aulos
40, 43, 36, 76, 141, 157
Aughterlony, Simone
216–217
authenticity
66, 69, 114, 286, 288, 296, 301, 314
autobiography, autobiographical
23, 136–146, 214, 216–219, 221–230
auto-bio-narrative
214, 220–224, 227–230
auto-bio-narration
214, 217–218, 220, 229, 230
Bacchic imagery
90–91, 95–96, 148–149, 198, 203
Bali
311–312, 322
ballet
41, 45, 53, 70–72, 114–115, 215, 237–255, 257–279, 284–296, 342
ballet d’ action / ballet en action
2, 214–215, 238–239, 262, 265, 269, 271
ballet/danse d’ école
114, 289
banquet
184, 185, 186, 190, 196, 197, 206, 207
Barthes, Roland
108–113, 121–124
Bastian, Henry Charlton
83
Batteux, Charles
259, 278
beauty
6, 61, 62, 68, 74–75, 78, 83, 85, 87, 89, 95, 108, 118, 193n35, 204, 223, 259, 273, 278, 290
beheading / decapitation
183, 186, 187, 188, 206
belle nature
259, 278
belly-dance
198
Benjamin, Walter
108, 113, 114, 116, 118, 124
birth
337, 339, 341, 343–344
birthday
188, 202
body / sōma
11, 14–15, 20, 59–66, 83, 91–92, 101–102, 111, 117–119, 145, 150n73, 193, 196, 199n50, 200, 202–204, 206, 218–224, 227, 258, 259, 271, 274, 289, 290, 293, 325, 332–347
phenomenal
11
Brecht, Bertolt
151
Cahusac, Louis de
259
Carcinus
49–50
The Carters (Beyoncé and Jay-Z)
346n50
Cassandra
135–136, 142–143
castanets
198
characterisation
64, 70–71, 79, 129–131, 166, 257–279
Charmatz, Boris
346
Cherkaoui, Sidi Larbi
346n50
chicken
70–71, 77n48
choral lyric
133n17, 303, 306–307, 308
choreia (see also music-and-dance)
7, 159, 165, 171, 175
chorodidaskalos
see dance teacher
chorus (ballet)
242
chorus, ancient
3, 40–41
Greek, comic
41–53
Greek, tragic
70n28, 77, 79, 161, 301–310
Aeschylean
130, 148
(ps-)Aeschylean
133
Euripidean
142n43, 165, 166, 171, 172, 207–208, 326
late antique
87, 99–100
of the gods
89, 307–308
Roman
334
Cinesias
51–52
clarity
8–9, 85, 87n, 102
comedy
ancient
39–54, 208–209
modern
248, 252, 253, 261, 273
commedia dell’arte
258, 261, 273
communication, non-discursive
83
conceptual frames
109, 111
content
discursive
83, 91
cognitive
93
Corybants
90–91, 93
costume
70–71, 88, 152, 207, 249, 260, 265, 266, 268, 269, 272, 275n83, 276, 286, 291, 294, 303–304, 316–317
Cranko, John
237, 247, 249–253
Crassus
207, 208, 211
cult
cult songs
44–45, 54
mystery cult
89–102
of Hippolytus
305–306
cultures, crossover between
14, 18, 150–151, 301–302, 328, 332n4
Cybele / Magna Mater
89–90
dactyloepitrites
43
Daffner, Hugo
182
dance
ancient: reconstructed, reenacted
18–19, 258–259, 270–278, 284–296, 300–328, 331–347
and eroticism
67, 75–78, 201–205, 251, 285–296
bacchic
65, 91, 148–149, 193, 198, 205, 289
concept-driven
110, 121, 258, 259
mimetic
5–12, 57–59, 70, 72–73, 79
non-representational / pure
41, 85–87
political function of
353–355
round / circular
44, 45, 50, 93, 95–97, 100, 165, 171
dance figure (see also dance step, pose)
63–64, 78
dance step (see also dance figure)
63, 70, 71, 76, 77, 78, 79, 116, 119, 204, 251, 257, 268, 271, 272, 274, 276, 277, 288, 289, 291, 315n38, 321n49
dance teacher / choreographer, ancient
77, 79, 130, 197
chorodidaskalos
40–41
didaskalia
41–45, 51, 70n28
orchēstodidaskalos
70n28, 75
dance teacher / choreographer, modern
Enlightenment
238, 246–255, 260, 270–271
20th century
286, 288, 290, 292, 321, 323, 335, 342
danza materiale
272
danza parlante
274–275
death as a spectacle
166, 173, 186
declamation
186, 202
Delphi
161, 164–166
delusion
203
Demeter
89, 94–95
description
see ekphrasis
deviants
205
Ballets Russes
246, 285–287, 294–296
diathesis / disposition
59, 63, 65, 69
didaskalia
see dance teacher
Didelot, Charles-Louis
241–242
dihēgesis / diegesis
83, 114
Dionysia, Great / City
46n32, 47, 53, 134, 147
Dionysus
43, 47, 50, 53, 90, 160
distance, aesthetic
88, 170, 271
dithyramb
1, 40, 48, 50, 51–52, 53, 161
dochmiacs
42, 44, 51
dog
67–68
Dubos, Jean Baptiste
258
Duncan, Isadora
2, 215, 286, 288–291, 293, 294, 296, 335n14, 341n29
Durazzo, Giacomo
261
effeminates, effeminacy
9, 205, 293
ekphrasis, description
6, 87–88
Eleusis
89, 94–95
embodiment, embodied
7, 14, 19–22, 65, 70, 72–79, 129, 143–145, 201, 214, 217, 218, 220–230, 319–320, 327, 331, 333, 334, 336, 338–339, 341–342, 344
embolima
41
emotion
11, 88–94, 258, 262–265, 267, 271, 273, 277, 279, 307–309, 334
empathy
8, 83–84, 101
kinesthetic
21, 83, 100, 158–159, 163, 339, 341
enactment
19–22, 164, 253, 302, 311–313, 323
erection
201, 293, 295
Esther
188
ēthos /character
58, 60–64, 66, 69, 72, 74–75, 185, 257–279, 334
execution
183, 185, 188
experience (see pathos)
experiential background
8
experientiality
19–22
expressive
5–6, 68, 73, 238, 252, 259, 261, 267, 270, 273, 275, 277, 279
fair theatres
354
Fawcett, John
242–243
feet
118, 120, 122, 148, 215n2, 171–172, 200, 201, 250, 271, 274, 336
femme fatale
180
figurative arts (see also painting, statue, vase painting)
6, 8, 15, 65, 79, 87, 143, 163, 167, 169–170, 219, 277, 285, 284, 287–293, 328
Flamininus, Lucius Quinctius
181, 184, 186
Fokine, Michel
286, 291, 293, 296
Fulvia
188, 189, 190
Garrick, David
238, 266–267
gaze
158, 170, 181, 205, 250, 268, 333, 335, 341n29, 347
gesture
and animals
67–69, 70–71, 143–145, 148n64
as language
258–259, 273, 328
codified
20, 24, 58, 72, 215, 302, 322
representing emotion
123, 250, 257–279, 258, 260, 262–270, 273, 275–279, 307
representing exhaustion
120, 140–142
representing love
76–78, 122
Girard, René
180
Gluck, Christoph Willibald
261–262, 290
Gnosis
96
Graham, Martha
338, 342
hands
86, 98, 100, 117, 199, 122, 215n2, 251, 265, 267, 268, 279, 289, 294, 325, 336
hare
67–68
Harrison, Jane
207
head
67, 68, 71, 181, 183–185, 202, 204, 205, 207, 252, 267, 268, 271, 273, 275, 277, 290, 294, 319
head, talking
199, 204, 206
Helpmann, Robert
237, 247
Henry, Louis
237, 244–245
Herod
181, 205, 294
Herodias
180–183, 186, 189–190, 197
Hilverding, Franz Anton
257, 260, 261, 270, 271
Hogarth, William
265
horse
65, 68–69, 74n39, 306
Trojan
171, 172
humanisation
143–145
hunter, hunting (see also venatio)
67–68, 138–140, 218, 309, 318
Hyrodes / (H)orodes II
207, 208
iambic tetrameters, catalectic
42–43, 46, 52
iconography
86–87, 144, 288, 334
imitation/imitable
11, 58, 60–63, 65–66, 69, 72, 74, 75, 79, 187, 251, 259, 262–263, 271, 272, 273, 327
initiation
88–96
interpretation (choreographical)
of literary media
121–122, 242–254, 271, 332–336, 340–342
of visual media
287–291
interpretation (exegetical)
9, 63–65, 68n24, 69, 79, 84–87, 93–94, 140, 188, 197, 207, 247, 265, 346
intertexuality
19, 193
Io
134–146
ionics
42–43
isolation (movements)
192, 201, 205
Jaipongan
321, 325
Java
300, 316–317, 321–324
John the Baptist
181, 183, 189, 196, 197, 199, 207, 208
Joseph
188
Kaunitz-Rietberg, Wenzel Anton
261
kecak
313, 319–321
kinesthesia (see also empathy, kinesthetic)
83–84, 158
kiss
75, 205, 206, 250, 251
Kore (see also Persephone)
89, 94n
labour
337–338, 341, 344, 352, 354
language (see also gesture)
body
68, 258, 259, 273, 302–304, 328
choreographic
174
dance
13, 19, 302, 303, 322–323, 328
movement
220, 221, 252
somatosensory
157
L’ Après-midi d’ un faune
285–288, 291–296
Lavrovsky, Leonid
247–249, 251
leaping
67, 93, 136–137, 139, 145–147, 171–173
Lenaea
47
LePicq, Charles
239–241, 243
Linklater, Lukin
339
lion
60, 65, 67, 201, 202
literature
ballet scenarios/programmes, Enlightenment
238–239, 241, 252, 262–264, 267–270, 271–275
ballet scenarios/programmes, 19th cent.
242
biblical
182–184, 187, 188, 204, 205, 206, 208
dance scenarios/programmes, contemporary
218, 219, 226–228, 301–302, 336
Enlightenment
259, 262, 265, 275–276
Greek, ancient
39–54, 58–64, 66–69, 73–76, 89–92, 129–149, 159–168, 170–174, 208, 305
Greek, imperial
40, 65, 91–93, 95–102, 149, 188–189, 207–208, 274, 334
Latin, ante Augustan
184–186, 193, 197, 206, 332, 334, 336–338, 340–341, 344, 347
Latin, post Augustan
86–89, 92, 149, 185–186, 188–206, 208–209
Modernist
110–124
Shakespearean
237–255
MacMillan, Kenneth
247, 254–255
madness
49, 145–152, 195, 196, 202, 204, 208, 209n83, 254
Maenads
130, 208
Magna Mater
see Cybele
Magri, Gennaro
268, 277
Marceau, Marcel
338, 342
Mariquita, Madame
286, 288, 290–291, 294, 296
McGregor, Wayne
214, 218, 224–230
meaning
68, 74, 83, 87, 113–114, 225–226, 250–251, 257–258, 265, 285, 286, 295, 296, 327–328
memory, cultural
17, 143, 338–339, 342–343, 347
mime
70, 72, 258, 261, 273, 285, 301, 302, 316, 338, 342
mimēsis
3, 18, 57–79, 130, 146, 159, 289, 321
mirror neurons
15–16, 83–84
museums
286–291, 331–347
music-and-dance, mousikē
1, 7–8, 15–16, 39–42, 53–54, 63n12, 141, 146, 240, 248–249, 254, 301, 307, 312, 314–316, 320–322, 327, 334
Myrrha
332–344
mystery / mystery cult
see cult, mystery
myth, mythology (see also repertoire)
6–8, 75, 85–88, 94–95, 131, 141, 145, 160–161, 209, 215, 296, 305–310, 323, 334
narrative
autobiographical
see autobiography
dramatic
135, 156–176, 221–222, 314–315
fragmented
115, 123–124, 135, 215, 220, 326, 336–338, 344–347
non-linear
135–136, 220–222, 225–228, 247
relatedness in
9–10, 83, 94
narratology
12–17, 19–21
Neoptolemus
156–176
Neumeier, John
241n13, 253
Nijinsky, Vaslav
285–296
Nō drama
150–151
Noverre, Jean-Georges
215, 229, 238–240, 244, 252, 257, 259, 260, 262–268, 270–274, 277–279
Nureyev, Rudolf
237, 249–253, 257, 259–261, 267, 268, 270–279
orientalism
180, 205, 294
Orpheus
193, 199, 206–208
painting (see also figurative arts)
6, 60, 65, 66, 121, 262, 264, 277, 344
pantomime (tragoedia saltata; saltatio)
8–9, 11, 50, 53, 85–89, 102, 147, 149–150, 198n46, 205n68, 215, 238, 242, 258, 262–263, 270–275, 278–279, 285, 290–291, 332, 334–335
universality of
9, 93–94
pathos / emotion
58, 60, 62–64, 66, 69, 72, 74–75, 264, 307, 326
pathos / experience
18, 79, 92–93, 96, 100–101, 129
Peleus
166, 174
Pentheus
207, 208
performance
as archive
218–223, 227, 332–333, 338–344
contemporary
76–77, 285, 301–328, 331–347
Persephone (see also Kore)
94–95
Pharaoh
188
platter
183, 188, 192, 196, 197, 202
polytheism
307–308
Pompey
193
pose (see also schēma)
6, 62, 64, 83, 92, 115, 277, 285, 287–292, 322
posture
58–60, 65, 66, 68, 163, 167, 219, 254, 257, 258, 260, 267, 271, 276
power
47, 159, 333, 347, 354–355
practice-as-research
333–334, 338–342
Priam
161, 173, 193
Prokofiev, Sergei
247–248
prop
88, 157, 244, 249, 207, 344
prophet
182, 196, 192, 193, 196, 197
pyrrhichē
156–176
reality vs. fiction
65, 68, 75–76, 79, 150
reenactment
18–19, 95, 115, 353
Reimarus Secundus
182
reperformance
17–19, 120, 160–161, 240, 244, 246, 248, 328
repertoire
14, 17–19, 121–122, 245, 258, 272, 279, 284, 338, 346
rhythmos / rhythm
40, 64, 111, 131, 225, 274, 284, 314–315, 320–321, 324, 334, 340
ritual, marital and pre-marital
305, 306, 308–310, 316
Rollenfach
259–260
Salome
181, 192, 199, 202, 203, 209, 293–294
sandals
201, 291
schēma /schēmata (see also pose)
6, 40, 41, 57–79, 92, 111, 117
search scenes
43–45, 218
sense
62, 71, 82–84, 86–88, 91, 93–94, 97, 121, 170, 174, 199, 215, 226, 335, 341–342
serpent
87, 203
settings, physico-conceptual
108, 124
shape / form
7, 59, 61, 63–66, 122, 165, 220, 222, 262, 268, 277, 292, 296, 333, 336
singer / cantor
150–151, 193, 240, 334
simulation, embodied
9, 84, 94
sinuosity
205
sōma
see body
Soulier, Noé
108–113, 115–124
spectator / audience / viewer
11, 69–73, 75–77, 79, 83–89, 94, 101–102, 198, 200, 284, 292, 294, 304
and interpretation
69, 71, 85n8, 116, 175, 240–247, 252
as part of the performance
223, 315, 328
as practitioner
335
internal
133, 143, 205
spectatorship
49, 69–70, 143
and affect
83, 116, 143, 157–159, 163, 175, 217, 257–258, 265, 267, 273–274, 279, 307–308, 326
of ancient performance
160–164, 157–164, 172–174, 175–176
statue (see also figurative arts)
6, 62, 254, 275n83, 287, 290, 291, 293, 304
steps
abstract
71, 73, 74, 247
broken
204
storyworld
6, 11, 88, 101
Stuart, Meg
214, 216, 218–230
sword-swallower
86
symmetry, choral
316, 324–326
symposium
6, 50, 53, 73–76, 169–170, 187n22
syncope
43
tell vs. show
10–12, 58, 72
temporality
18, 66, 134–135, 226–227, 306, 332–333, 336, 338, 345
Thespis
40, 41, 49, 50
Thiasos Theatre Company
4n10, 300–301, 304, 328
Topeng
314, 316–317
tongue
145–146, 199, 215n2
tragedy
Attic/Greek
39, 41–43, 46, 49–50, 129–152, 157–158, 160, 175–176, 208–209, 300–302, 306–307, 310, 313
Roman
86, 334
Shakespearean
238–241, 244–246, 252, 254
train (clothing)
201
trochaic tetrameters, catalectic
44, 46
understanding, embodied
11, 61, 84, 88, 89, 94, 96, 100, 102
Valerius Antias
184–186
vase painting, Greek (see also figurative arts)
130, 143, 168–170, 174, 284, 287–290
venatio (see also hunter, hunting)
203
Vestrus, Auguste
270
Weaver, John
215, 229, 258
Wheeldon, Christopher
253–254
whirling
171n44, 203
Wilde, Oscar
205
Woolf, Virginia
108, 110–114, 116–123
Zeami
150–151
Zins-Browne, Andros
115