Amphitryon half guerroyer contre les Téléboens. Son épouse, l. a. vertueuse Alcmène, attend son retour avec impatience. Mais Jupiter, séduit par ses charmes, l. a. dupe en prenant les features de l'absent. De son côté, Mercure, le messager de Jupiter, s'amuse à faire douter de sa propre lifestyles Sosie, dont il a également pris l'apparence. L'avare Euclion n'a qu'une obsession: mettre en lieu sûr l'"aululaire", une marmite remplie d'or. Que les prétendants se le tiennent pour dit: il ne dépensera pas un sou pour marier sa fille ! Pyrgopolinices, soldat fanfaron, a enlevé los angeles jeune fiancée de Pleusiclés. Les deux amants pourront-ils un jour se retrouver ? Par probability, un esclave rusé veille sur eux et rivalisera d'invention pour ridiculiser le ravisseur... Ces comédies virevoltantes, Plaute les a écrites pour un public populaire avide de dépaysement et de rebondissements. Près de deux mille ans plus tard, Molière s'inspirera de ces quiproquos improbables.
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Extra resources for Amphitryon ; L'Aululaire ; Le soldat fanfaron
Developing the views of a valuable but neglected book by Hanson (1959), Goldberg took as his case-study the performance of Plautus’ Pseudolus at the Theatre of Magna Mater during the Megalesian games in 191 bce. His discussion not only includes important observations on the small scale of the improvised theatrical venues of Plautus’ era, but also takes religious, political, and moral factors into consideration in order to explain why the Roman upper classes seem to have resisted (until 55 bce) the building of permanent stone theatres.
De prov. consul. 14; Iuv. 185–186 and schol. Iuv. 186; Apul. Met. –Fest. 4 L; Nicoll (1931) 105–109; Beare (1941); Sear (2006) 8; Manuwald (2011) 70. v. 2): Cic. Pro Cael. 64–65; Auct. de dub. nomin. 4 K. Early mime-shows: Panayotakis (2010) 22–27. m. 76 In spite of the promising nature of the subject, a comprehensive monograph on props and audio-visual effects dealing with all types of Roman drama has yet to be written. In its absence, research on the topic has been served well by the three substantial articles of Ketterer, who provides a semiotic analysis of props in nine Plautine plays.
Harrison troupes, the doubling of roles, the comic routines, and the serious tone of some Plautine scenes. Additionally, like Beacham, Marshall enthusiastically interprets Plautus’ texts as scripts; he is thus less interested in Plautus’ style, language, and debts to Greek New Comedy. His experience in directing and in performing in a number of Plautine plays has enabled Marshall to ask some penetrating questions about the position of actors on the stage (“blocking”), the dramatic pace, and the use of gestures.
Amphitryon ; L'Aululaire ; Le soldat fanfaron by Plautus