The Theatre of Justice contains 17 chapters that offer a holistic view of performance in Greek and Roman oratorical and political contexts. This holistic view consists of the examination of two areas of techniques. The first one relates to the delivery of speeches and texts: gesticulation, facial expressions and vocal communication. The second area includes a wide diversity of techniques that aim at forging a rapport between the speaker and the audience, such as emotions, language and style, vivid imagery and the depiction of characters.
In this way the volume develops a better understanding of the objectives of public speaking, the mechanisms of persuasion, and the extent to which performance determined the outcome of judicial and political contests.
Sophia Papaioannou, Ph.D. (1998), University of Texas-Austin, is Associate Professor of Latin Literature at the National and Kapodistrian University of Athens. She specializes in Augustan Literature and Roman Comedy. Her most recent monograph is
Terence and Interpretation (Cambridge Scholars Publishing, 2014).
Andreas Serafim, Ph.D. (2013), University College London, is a Government of Ireland Postdoctoral Fellow in the Department of Classics at Trinity College Dublin and Adjunct Lecturer at the Open University of Cyprus. He is a specialist in Greek rhetoric and performance criticism. His monograph,
Attic Oratory and Performance, will be published by Routledge (forthcoming 2017). A sample of his research is presented in his recently published
Classical Quarterly article “Making the Audience: Ekphrasis and Rhetorical Strategy in Demosthenes 18 and 19” (CQ, 2015, 96-108).
Beatrice da Vela, MPhil (2010), University of Cambridge, is a teacher and independent researcher. Her interests include literary and rhetoric education in Late Antiquity, with a strong focus on the relation between drama and classroom practice, the reception of Roman literature in culture in modern history and Classical reception in contemporary Italian literature.
Contributors are: Costantinos Apostolakis, Christopher Carey, Brenda Griffith-Williams, Jon Hall, Edward M. Harris, Konstantinos Kapparis, Christos Kremmydas, Sophia Papaioannou, Andreas Serafim, Dimos Spatharas, Catherine Steel, Kathryn Tempest, Alessandro Vatri, Beatrice da Vela, Henriette van der Blom, Guy Westwood and Ian Worthington.
Table of contents
Notes on Contributors
Sophia Papaioannou, Andreas Serafim and Beatrice da Vela
Part 1: Speakers-Audience
2. Audience reaction, performance and the exploitation of delivery in the courts and assembly
3. ‘Conventions’ in/as performance: addressing the audience in selected public speeches of Demosthenes
4. Would I lie to you? Narrative and performance in Isaios 6
5. The orator and the ghosts: performing the past in fourth-century Athens
6. Speech without limits: defining informality in Republican oratory
Part 2: Ēthopoia
7. Ēthos and logical argument in Thucydides’ Assembly debates
8. Elite rhetoric and self-presentation: Metellus Numidicus returns
Henriette van der Blom
Part 3: Hypocrisis-Delivery-Actio
9. Pitiable Dramas on the Podium of the Athenian Law Courts
10. From the Stage to the Court: Rhetorical and Dramatic Performance in Donatus’ Commentary on Terence
Beatrice da Vela
11. Oratorical Performance in Pliny’s Letters
Part 4: Emotions in the Law-Court
12. The Mind’s Theatre: Envy, Hybris and Enargeia in Demosthenes’ Against Meidias
13. How to “Act” in an Athenian Court: Emotions and Forensic Performance
Edward M. Harris
14. Roman Judges and Their Participation in the “Theatre of Justice”
Part 5: Language and Style in Performance
15. Style, person, and performance in Aeschines’ prosecution of Timarchos
16. Narrative and Performance in the Speeches of Apollodoros
17. Public performance and the language of Antiphon’s speeches
Scholars, undergraduate, and postgraduate students interested in performance criticism in ancient Greek and Roman oratory/rhetoric as well as other aspects of the Classical World (e.g. education, society, theory of emotions, etc.).