Geometry.Net - Authors: Plautus

Plautus - Quotation Guide
plautus The day, water, sun, moon, nightI do not haveto purchase these things with money. (topic nature).
http://www.annabelle.net/topics/author.php?firstname=&lastname=Plautus
Lateinisches Theater: Titus Maccius Plautus: Mostellaria
Translate this page Bilder einer Aufführung der lateinischen Theatergruppe der TU Dresden plautus,Mostellaria. Lateinisch-griechisches Theater. Zechszene aus der Mostellaria.
http://www.tu-dresden.de/sulifkp/theater.htm
Plautus
encyclopediaEncyclopedia plautus, plô'tus Pronunciation Key. plautus (TitusMaccius plautus), c. 254184 BC, Roman writer of comedies, b. Umbria.
http://www.factmonster.com/ce6/people/A0839341.html

Extractions: Pronunciation Key Plautus (Titus Maccius Plautus), c. 254 B.C. Amphitruo Amphitryon Asinaria, Aulularia, Bacchides, Captivi, Casina, Cistellaria, Curculio, Epidicus, Menaechmi, Mercator, Miles gloriosus, Mostellaria, Persa, Poenulus, Pseudolus, Rudens, Stichus, Trinummus, Truculentus, and Vidularia (in fragments). See G. E. Duckworth, The Complete Roman Drama
THE BROTHERS MENAECHMUS
by Titus Maccius plautus. The Script. Now, if you'll listen and pay attention, I'llbring you in as few words as possible, I promise, plautus' play's premise.
http://server.forlang.rhodes.edu/ACS/users/prior/Men.script.a0.html
Plautus, Terence, And Cicero
This webpage has moved. Please click on plautus, Terence, and Cicero.
http://www.west.net/~beck/EC26-Cicero.html
Plautus, Mercator
Translate this page plautus, Mercator. Wir haben das Stück an folgenden Orten aufgeführt Göttingen,5. Juli 2000. Göttingen, 7. Juli 2000. Halle, 30. Januar 2001. Jena, 31.
http://www.stud.uni-goettingen.de/~s133295/cgi-bin/mercator

Extractions: 5. Juli 2000 7. Juli 2000 Halle 30. Januar 2001 Jena 31. Januar 2001 Bonn 9. Februar 2001 Berechtigte bitte hier einloggen Pressestimmen Die Beteiligten Bilder von den Auftritten als Bild als Bild General-Anzeiger vom 26. Februar 2001 als Bild Es traten auf: Tatja Wilcke als der Prologsprecher, Roswitha Naschke als Acanthio als Charinus Christian Oltmann als Eutychus Ulrich Klauer als Demipho Dorothee Harbort als Lysimachus Kerstin Widdekind als Pasicompsa Johanna Nickel als Dorippa Barbara Behling als Syra Nadine Holstermann als der Koch, Diane Wolff als Lorarius und als Roswitha Naschke, Kerstin Widdekind als die Kochgehilfen, Roswitha Naschke als die Sonne sowie Ilja Kuschke, Aniela Knoblich als engagierte Zuschauer. Hinter und in den Kulissen wirkten: Aniela Knoblich, Diane Wolff Musik Ulrich Schindel, Marcus Deufert Regie, Organisation und Soufflieren Szene I Szene I Dorothee Harbort Szene I Szene II Dorothee Harbort, Diane Wolff Szene II Christian Oltmann Szene II Szene II Szene III Kerstin Widdekind, Dorothee Harbort
Ice Plant (Lampranthus Plautus)
Ice Plant Scientific Name Lampranthus plautus NE Br. Ice Plant (Lampranthusplautus) Lampranthus plautus with flower starting to open.
http://www.desert-tropicals.com/Plants/Aizoaceae/Lampranthus_plautus.html

Extractions: Frost Tolerance: Hardy to 20°F (-7°C) for short periods Heat Tolerance: Avoid reflected heat, and afternoon sun in Phoenix Sun Exposure: Full sun Origin: South Africa (Little Namaqualand) Growth Habits: Succulent subshrub 1 to 2 feet tall (30 to 60 cm) Watering Needs: Little summer water in most places, twice weekly in the hot desert Propagation: Seeds, cuttings There are over 180 species of Lampranthus, plus many garden forms.
Plautus For Latin 445
Latin 445 Prof. Kitchell http//www.uakron.edu/classics/IVARI/ excellent!Good for images connected with the theater; General and
http://www.umass.edu/langctr/latin/plautus.html
Electronic Antiquity (Dec. 1995): TRANSLATING PLAUTUS: A REVIEW
TRANSLATING plautus A REVIEW DISCUSSION.PRIVATE. II (pp.ix + 396) sameprice, ISBN 08018-5057-6 and -5056-8. plautus Three Comedies.
http://ccat.sas.upenn.edu/awiesner/ea/fantham.html

Extractions: e-mail: fantham@pucc.Princeton.edu Plautus: The Comedies , ed. David R. Slavitt and Palmer Bovie, Johns Hopkins University Press, 1995: Volumes I (pp.x +373) $15.95, paperback, $45.00, hardcover, ISBN 0-8018-5071-1 and -5070-3 respectively; Vol. II (pp.ix + 396) same price, ISBN 0-8018-5057-6 and -5056-8. Plautus: Three Comedies. The Braggart Warrior, The Rope, Casina , translated with an introduction by Robert Wind, University Press of America 1995, $26.50, paperback only. ISBN 0-8191-9815-3 The first two volumes of Plautine Comedy have just appeared in the new Johns Hopkins Compete Roman Drama in Translation , with ten plays and eight translators providing a fair indication of what may be expected from the two volumes still to come. David Slavitt, a veteran translator of Ovid, Virgil and of Senecan tragedy in this very series, has not contributed any translation himself, but the other editor has contributed both a translation of Aulularia and a short introduction to each volume. About half the versions offered here are reprints: Constance Carrier's
John Gruber-Miller, Staging Plautus' Curculio
College. From the Roman Forum to the Steps of Armstrong Hall Staging plautus'Curculio. unchanged. plautus, however, offers another solution.
http://duke.usask.ca/~porterj/abstracts/grubermiller.html

Extractions: Cornell College From the Roman Forum to the Steps of Armstrong Hall: Staging Plautus' Curculio In the middle of Plautus' Curculio, a play set in Epidaurus, the Choragus comes on stage and gives a speech about the sights and sounds of the Roman Forum. The pointed references to specific Roman buildings, monuments, and streets and the satiric references to Roman institutions and professions can be explained, slowly and painstakingly, in a classroom, but can easily confuse or bore a modern audience. So what should a modern production of the play do with the scene? One solution might be to cut or at least shorten the speech. Another might be to rewrite the references so that they would be understandable for a modern audience, leaving the rest of the play unchanged. Plautus, however, offers another solution. Recast the play in such a way that it stresses the similarity of situation between the ancient world and our world. As Timothy Moore has shown ( AJP 112 [1991] 343-62), Plautus puts this speech into the mouth of the Choragus to blur the distinctions between the imaginary world of Epidaurus and the "real world" of Rome and to encourage the audience to view the action of the play, not as alien, but as applicable to their own lives. In other words, Plautus invites those who produce the play to make explicit the connection between the imaginary world on stage and the real world of our lives. So, at Plautus' encouragement, we recast the play as a satire of college social life. Instead of a pimp and a prostitute, there was a pledgemistress and her pledge. Instead of a lover and his slave, there was a pledgemaster and his male pledge. The banker was transformed into a college professor.
Plautus
Latin 4105 plautus, Amphitruo. Amphitruo is, as plautus himself makes clear in theprologue, not a typical comedy; indeed, Mercury calls it tragicomoedia. Why?
http://www.columbia.edu/itc/classics/zetzel/Plautus.htm

Extractions: Latin 4105: Plautus, Amphitruo Unless you have read Roman comedy before, Plautus is likely to be the most difficult text to read this semester, if only because the language is archaic and the vocabulary unfamiliar. The meter is also not easy. On all these topics, Christenson's commentary is very good, and you should use it as needed. And although I will not ask you to sing Sosia's great canticum , you should attempt to understand the meter of this and of the regular spoken meter, the iambic senarius. Amphitruo is, as Plautus himself makes clear in the prologue, not a typical comedy; indeed, Mercury calls it tragicomoedia . Why? what does he mean? What is the effect of a comedy of mistaken identity (a common plot; compare Menaechmi ) in which one of the pairs is god/king and the other is god/slave? Roman comedy is generally (and rightly) said to be based on Greek New Comedy, and one of the major strands of Plautine criticism until recently has been to try to detect what is "Plautine" or "Roman" in Plautus (see Fraenkel and Handley, below). How can you tell what is "Greek" and what is "Roman"and does it matter? Putting it another way, how does Plautus make his plays at home in Rome? to what extent is he commenting on his own society (see Gruen and Konstan below)? Are allusions to Roman social situations (e.g. the torture of slaves) meant to be social criticism, or simply funny? Is Sosia's great speech on the battle meant to evoke Roman experience? If so, to what effect?
Plautus, The Comedies; Author: Plautus; Editor: Bovie, Palmer; Paperback
plautus, The Comedies Author plautus; Editor Bovie, Palmer Series 3; plautus(Paperback); Paperback 392 pages Published November 1995 The Johns Hopkins
http://www.opengroup.com/lxbooks/080/0801850681.shtml
Plautus - Dark Humor And Dramatic Irony
Dramatic Irony and Dark Humor in the Plays of plautus. The asides in plautus' comedies,however, take on a very different character from those of Aristophanes.
http://www.nthuleen.com/papers/C14paper2.html

Extractions: Classics 14 Paper 2 Dramatic irony, when strictly defined, appears in fact very rarely in ancient comedy; instead, it becomes common in Shakespearean and other European comedies. The classic example is, of course, the hero who remarks to the audience, "I would rather die than fail now" he means simply that he intends to succeed, but the audience reads this correctly as a foreshadowing of the hero's imminent death. In a broader sense, however, dramatic irony develops a meaning that allows its application to ancient comedy. The dramas and novels of the German Romantic authors, for example, exhibit a form of dramatic irony that mirrors the "illusion-breaking" role so familiar to us. In the tales of E.T.A. Hoffmann, the narrator interrupts the story at frequent intervals to exert his creative presence, reminding the audience to discard their disbelief and try to imagine the situations as he describes them, regardless of how outrageous it may seem and regardless of whether or not the tale is true. A remarkably similar form of irony appears, then, in the works of Aristophanes. Often during the course of his plays, the audience is directly addressed by the actors; this is of course true in the parabasis, where it becomes a defining element, and also in the prologue, where it is necessary to set up the details of the story. However, aside remarks made to the audience continue to appear, sometimes in unexpected places in the middle of dramatic conflicts or battles, amidst arguments or vehement discussions, or in other scenes where the action seems to take a more serious turn. The asides then relieve the tension produced at these moments, and add to the humor and comic character of the plays.
Bolchazy.com: 404 File Not Found
Three Plays by plautus Paul Roche, Paperback, $17.00. By basing hisplays on the perennial dilemmas and follies of man, plautus created
http://www.bolchazy.com/latin/3plays.html

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Romandramabib
http://ccwf.cc.utexas.edu/~tjmoore/romandramabib.html

Extractions: GENERAL DISCUSSIONS Beacham, Richard C. The Roman Theatre and Its Audience . Cambridge, MA, Harvard Univ. Press, 1992. Beare, William. The Roman Stage: A Short History of Latin Drama in the Time of the Republic . 3d ed., London: Methuen, 1964. Bieber, Margarete. The History of the Greek and Roman Theater . 2nd ed. Princeton: Princeton University Press, 1961. Dated, but still useful guide to the archaeological evidence for theatrical practice. . Darmstadt: Wissenschaftliche Buchgesellschaft, 1978. Collection of essays. Csapo, Eric and William J. Slater. The Context of Ancient Drama . Ann Arbor, MI, Univ. of Michigan Press, 1995. Source book of Realia for both Greek and Roman theater. Dupont, Florence. . Collection Realia. Paris: Les Belles Lettres, 1985. Garton, Charles. Personal Aspects of the Roman Theatre . Toronto: Hakkert, 1972. Gratwick, Adrian. "Drama," in

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