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Menander Offstage.

Brown, Mitch.

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Menander Offstage.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Menander Offstage./
Author:	Brown, Mitch.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2017,
Description:	226 p.
Notes:	Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.
Contained By:	Dissertation Abstracts International78-08A(E).
Subject:	Classical studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10585097
ISBN:	9781369635966

Menander Offstage.
Brown, Mitch.

Menander Offstage. - Ann Arbor : ProQuest Dissertations & Theses, 2017 - 226 p.

Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.

Thesis (Ph.D.)--University of Cincinnati, 2017.

This dissertation explores offstage action in the plays of Menander. It argues that the unseen events -- those not shown to the audience but reported to them -- in his plays serve various dramatic ends through their very invisibility. Thus the playwright, in addition to functioning as a producer of an actual spectacle for the audience to see and hear, is also a director of the audiences imagination. This study provides close readings of several Menandrian plays, within a methodological framework with two primary questions: (1) why does Menander prefer to keep some people and events offstage and (2) how does such a decision contribute to his overall dramatic project within the play?

ISBN: 9781369635966Subjects--Topical Terms:

2122826
Classical studies.

Menander Offstage.
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245 1 0 $a Menander Offstage.
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300 $a 226 p.
500 $a Source: Dissertation Abstracts International, Volume: 78-08(E), Section: A.
502 $a Thesis (Ph.D.)--University of Cincinnati, 2017.
520 $a This dissertation explores offstage action in the plays of Menander. It argues that the unseen events -- those not shown to the audience but reported to them -- in his plays serve various dramatic ends through their very invisibility. Thus the playwright, in addition to functioning as a producer of an actual spectacle for the audience to see and hear, is also a director of the audiences imagination. This study provides close readings of several Menandrian plays, within a methodological framework with two primary questions: (1) why does Menander prefer to keep some people and events offstage and (2) how does such a decision contribute to his overall dramatic project within the play?
520 $a The chapters, which each focus on one or (in the case of chapter 2) two plays, in totality, illustrate the various effects that can be achieved through the employment of the elsewhere and also the greater scope that Menanders drama encompasses. The first chapter highlights how in the Dyskolos Menander uses the action that the audience does not see to build in the protagonist Knemon a binary characterization that leaves his true nature in suspense for much of the play. The second chapter explores Menanders use and presentation of the most important offstage space -- the household, arguing that Menanders focus on these interior spaces allows them to become positions of power for the women who inhabit them. Through camaraderie and noble conspiracy, the women of the Samia covertly seize control of events from the patriarchs while Myrrhine in the Perikeiromene derives a dominant theatrical position from her own invisibility. Chapter 3 highlights the parallel that Menander draws in the Epitrepontes between the married couple Charisios and Pamphile. The playwright keeps both characters offstage in separate houses for a majority of the play and builds to their reconciliation by matching their dramatic movements from absence to presence. Finally, Chapter 4 examines how Menander uses the absence of his protagonist Kleostratos in the Aspis to position his play in a liminal dramatic space between tragedy and comedy and to explore the boundaries between the two types of drama.
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