Episode 69The Renaissance met the Reformation in the Germanic States of Northern Europe so we start with a word on Martin Luther and his love of music and qualified approval of theatre.Latin drama of Jacob Wimpheling and Thomas Naogeorgus.The history of Hanswurst and Brandt's 'Ship of Fools''Students' by Christoph Stumble gets it's second mention on the podcast.The versatility of Johannes ReuchlinGerman biblical playsThe German plays of Henrich Julius von Braunschweig, Duke of BrunswickThe extraordinary life of Nicodemus Frischlin and his comedy 'Julius Redivivus’ The impact of the thirty years war.Support the Podcast at:www .thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 68A detailed look at 'La Pellegrina', a play written for the wedding celebrations of Grand Duke Fernando of Sienna in 1589.The background to the writing of the play commissioned by Cardinal Fernando Di MidiciA description of the plot of the playSome commentary on the play, its relationship to Ancient Greek and Roman drama, the changes in stop characters since the beginning of Renaissance Italian Theatre and its legacy.Support the podcast at:www.thehistoryofeuropeantheatre.comwww.ko-fi.com/thoetpwww.patreon.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 67In this third part of the story of theatre in the Italian Renaissance the counter reformation overshadows the work of playwrights.We conclude the story of Giovan Maria Cecchi with a look at his later sacred drama that still managed to amuse and entertain.The plays of Leone de'Sommi are mostly lost thanks to a library fire, but his surviving plays are of interest as we see a Jewish playwright operating both in and for the culture of his community and in the context of broader renaissance theatre.The review concludes with the work of Giambattista della Porta, a Neapolitan playwright who was outspoken in his plays and paid and fell foul of the Italian Inquisition.Support the podcast at:www.patreon.com/thoetpwww.ko-fi.com/thoetpwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 66Continuing from the last episode with more comedic dramatists from the Italian renaissance we meet Angelo Beolco who, under the tutorage of Ariosto, created, and became synonymous with, the character of Ruzzante.Then on to Alessandro Piccolomini and Giovan Maria Cecchi, who both left indelible traces on the development of comedy in the sixteenth century.Support the podcast here:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 65The development of tragedy and comedy in early Italian renaissance theatre happened on parallel paths as each struggeled to look forward rather than back.The development of Tragedy following the rediscovery of the plays of Sophocles.The continuing influence of Aristotle and Seneca.Playwrights Giovani Trissino and Giovanni Giraldi (aka Cinthio)The court at Ferrara and bloody tragedyOther notable tragedians from the period.The development of comedy as 'Comedy Erudite' and the continuing influence of Terence and PlautusThe court at Ferrara and a new form of comedyThree great comic writers: Lodovico Ariosto, Niccolo Machiavelli and Pietro AretinoThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 64In the first part of season four we bridge the gap between the Medieval and Renaissance periods with a mention of the key artistic movements and historical events that can be used to mark the beginning of the period.How theatre looked back to the rediscovered plays of Ancient Greece and Rome and the writings of Vitruvius on Theatre Architecture.The earliest plays of the period, showing how the Renaissance got started in the late 1300s.A word on the development of Opera and Ballet.For the chance to see Lazarus Theatre production of Salome by Oscar Wilde on line until 5th December 2021 go to https://www.lazarustheatrecompany.co.uk/saloméTo support the Podcast:www.patreon.com/thoetpwww.ko-fi.com/thoetpand find more details onwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 63In a coda to season 3 somewhere in England an acting troupe travels through a cold December at the tale end of the Medieval period, in search of an audience. A fictional account using the facts and assumptions discussed in the Medieval Theatre season of the podcast.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

In this bonus episode we get an introduction the the diary of Philip Henslowe, theatre owner and businessman during the end of the Tudor period and beginning of the Stuart period. Elements from the diary will feature on upcoming episodes for podcast supporters on Patreon.To support the podcast go to: www.patreon.com/thoetpwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A bonus episode featuring Salome by Oscar Wilde. In summer 2021 I was fortunate to see the Lazarus Theatre production at the Southwark Playhouse in London. In this episode I give a brief version of the Oscar Wilde story, look at Salome in more detail and think about what the Lazarus Theatre revival brings to this lesser known play.To see more about the work of Lazarus Theatre: www.lazarustheatrecompany.co.ukFor some of the pictures and cartoons mentioned in the podcast: www.thehistoryofeuropeantheatre.com/blogThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 62With the Reformation came the final end of the great Religious plays of the medieval period. The episode sumarises the great trends of medieval theatre and charts the final end as Europe descended into religious disagreement.A reminder of the journey from the religious trope, thorough the folk festivals, the cycle plays, the saints play, the morality play and the interlude.The end of Medieval Theatre as brought about by the Reformation and political and sociological changes.Some final thoughts on the legacy of Medieval Theatre.To support the podcast:www.thehisotryofeuropeantheatre.comwww.ko-fi.com/thoetpwww.patereon.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 61Once the medieval theatre had moved out of the confines of the church and away from religious obligation a form of commercial theatre began, but how was money spent and income generated and was it profitable?The rise of commercial theatre through the Interlude and the Travelling PlayersPlay expenses and incomeThe rising costs of the Cycle Plays and other entertainmentsThe actors contractThe production of 'Mystery Des Trois Doms' and what it tells us about collaborationThe relationship between the concerns of the Church, the State, and the GuildsThe player in the service of a Lord.To support the Podcast:www.patreon.com/thoetpwww.ko-fi.com/thoetpwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 60Religious theatre dominated the Medieval period, but there are some examples of works written just for fun and entertainment.How celebrations like The Feast of Fools, The Boy Bishop and The Feast of Asses developed into secular theatre.The rise and influence of the travelling players and the church reaction to some of their work.The French travelling players Rutebeuf and Adam De La Hale.French Medieval comedyThe establishment of performers guilds and the role of the player in service of a king or lord.A rare example of political satire in Medieval France.The Interlude and the work of Henry Medwell and John HaywardTo support the podcast:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoeptwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 59Everyman is the most well known of all the Morality plays and probably an English adaptation of a Dutch original.Different types of Morality PlaysThe Morality play in Europe and how they differed from the English offeringA synopsys and analysis of EverymanThe Dance Macabre and the role of DeathTo support the podcast:www.thehistorofeuropenatheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 58The Castle of Perseverance is a great example of how difficult it can be to discuss the form of a play separately from the content and in this case we have an illustration that shows how the play might have been presentedA summary of the plot of the playDetails from the manuscript about dating the playThe illustration contained in the manuscript reviewed in detailThe problems with the way the audience might have been positioned and the play presentedThe role of the 'Stytlery'The ditch and how it might have been used.To see the illustration discussed in this episode go to the websitewww.thehistoryofeuropeantheatre.comTo support the podcast go to:www.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 57The Morality play is a type of play that for all its similarities and shared heritage with the Corpus Christi cycle plays brought something new to the world of drama and had a profound effect on the future development of theatre.How the Morality Plays are different from Cycle PlaysThe Development of the ideas around the seven vices and virtues and how they developed into personified charactersThe development of education in the Middle Ages and the influence on monastic preachingThe presentation of Morality plays and the move away from the church feast dayExamples of the different sort of Morality plays that we have mention of in the recordsThe five extant Morality PlaysThe developing commercial nature of theatre including the travelling troupe of players and the booth stageFor more details on Rosslyn Chapel see:https://thehistoryofeuropeantheatre.com/blog/https://www.rosslynchapel.comSupport the podcast at:www.patreon.com/thoetpwww.ko-fi.com/thoetpwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 56The history of the Harrowing of Hell and the way it was portrayed in the cycle plays, including some thoughts on how it would have been staged and how the play comes alive when the demons and devils take to the stage.The play of Noah and the Great Flood must have provided the medieval set designers with some real challenges. Some thoughts on how that might have been done and a look at some of the detail around the story of Mrs Noah, doves, ravens and Rainbows.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 55The Second Shepherds play is considered the best of the medieval cycle plays. In this episode I take a look at not only the second shepherds play, but the first play as well, which is often overlooked.Why are there two shepherd's plays in this cycle?The plot and characters in the first playThe plot and charaters in the second playThe similarities and differences between the playsWhat the plays say about the social conditions of the timeThe Wakefield Master, author go the playsSupport the podcast here:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 54In this episode we look at the way the cycle plays developed in the four major centres from where we have complete versions of the cycle: York, Chester, Coventry and Wakefield.The development of the York PlaysFurther details on the guilds and how they functioned in societyThe development of the Chester playsThe development of the Coventry CycleThe development of the Wakefield cycleThe N-Town cycle ManuscriptThe Wakefield cycle playsThe literary merits of the playsFor the list of plays and associated guilds from York see: www.thehistoryofeuropeantheare.com/blogSupport the podcast here:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 53Stage sets, costuming and special effects became quite sophisticated in the cycle plays during the sixteenth century. This episode looks at the examples of stage sets that we have from Valenciennes. You can see the drawing that is described in the podcast here:www.thehistoryofeuropeantheatre.com/galleryA look at evidence for costuming the has survivedAnd then we take a look at the the different stager special effects used to impress the audience, especially the representations of Hell's Mouth, with associated demons, fires and pyrotechnics.Support the podcast here:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 52This episode looks at how the Corpus Christi plays were organised and staffed with actors, tradesmen and other organisers and supporters.How rehearsals were organised and what was expected of actors, including details of the contrast they were expected to sign.The different playing spaces that were used for the plays, including three main types, the round, the wagon, and the market place.The role of 'The Ordinary' and other things we know about the way the plays were presented.The rise and fall of the Saints PlayFor the illustration of the martyrdom of St Appolonia see: https://thehistoryofeuropeantheatre.com/gallery/To support the podcast:www.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A short bonus episode celebrating Hamlet in a production by Sean Mathias, staring Sir Ian McKellen, which marked my return to live theatre after more than a year.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 51The instigation of the Corpus Christi feat day too theatre out of the church and into the town and village. This episode looks at the development of the celebration of the new feast day and how the new trades guilds and other organisations took over the production of biblical plays from the church.An understanding of the theology behind the feast day is important to an understanding of how the plays developed, so this is outlined and the concepts of time and place within the plays is discussed.Then it's on to more practical matters such as learning lines and the emergence of the producer, director and stage manager.www.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 50The Synod of Winchester issued direction on the performance of the Trope in 960 and the door was open for further developments on other feast days.Then a look at other church festivals with dramatic elements. The Boy Bishop, The Day of Fools and the Festival of the Ass.And in the late twelfth century the Trope starts to get too big for the likes of some in the church as stage directions get more complicated and props and scenery get put to use to represent individual places and characters.You can support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 49The story of how theatre found it's way into the church service on the most important days in the Christian calendar, Easter Sunday and Christmas Day. For a long time drama was a small elaboration to the massif the same way music, architecture and art were only included to amplify the message of the service and the word of God. Following a lot at their impact and use we get to the Trope, but it that really the beginnings of church drama? The Synod of Winchester in 970 might just have the answer.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 48To open season three a summary of how theatre and dramatic activity survived despite the restrictions placed on it from the growing influence of the Christian Church.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A conversation with Ricky Dukes, artistic director of Lazarus Theatre.Find more about Lazarus Theatre at: https://www.lazarustheatre.comor on Twitter @LazarusTheatrewww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A conversation with Tamsin Shasha, Actor, Ariel Performer and artistic director of The Actors of Dionysus.Find out more about Tamsin's work here:www.actorsofdionysus.comTwitter: @aodtheatreFor the official website of the UN Climate Change Conference 2021:www.ukcop26.organd The Brighton Fringewww.brightonfringe.orgwww.thehistoryofeuropeantheatre.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A conversation about the earliest forms of theatre, the Greeks, Dionysus and more with performer and podcaster Rosie Beech. Rosie has a masters degree in Social Anthropology and applies the rigours of that subject to her knowledge of the earliest forms of theatre and the role of religion, women and much more in Greek Theatre.Find Rosie's podcast as Yorick Radio Productions on all good podcast apps and on twitter @RadioYorickThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A special episode to make the First Birthday of the Podcast featuring five stories from the history of the London TheatreCharles 2nd and Nell GwynKing George, the Prince of Wales, and the Theatre Royal, Drury LaneThe ghost of William TerrissNoel Coward's West End FlopThe tradition of the Baddeley CakeThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A short episode to introduce the new website for the podcast and the Facebook Group.Find us on the web at:www.thehistoryofeuropeantheatre.comFind us as a Facebook Group as:The History of European Theatre Podcast GroupAlso at Patreon.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A special bonus episode to celebrate the anniversary of the birth of William Shakespeare. Here, in seven parts, is a glimpse into a Shakespearean life: Birth, The School Room, The Players, Marriage, Poet, London and The Death SceneThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 47To conclude the season on the theatre of Rome this episode imagines a resident of the city in 54BCE, recounting in a letter to a sick friend, a day spent travelling to the theatre of Pompey and the time spent there.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 46:The second and concluding part of a summary of Roman Theatre presented as my personal top ten of the most influential, interesting and surprising aspects of Roman Theatre.This episode goes from number 5 to number 1.No spoilers as to the content of the episode here. You'll haveto listen to hear the countdown.And then the story of the final demise of theatre in the Roman EmpireThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 45The first part of a summary of Roman Theatre presented as my personal top ten of the most influential, interesting and surprising aspects of Roman Theatre.This episode goes from number 10 to number 6. The top 5 will follow next time.No spoilers as to the content of the episode here. You'll have to listen to hear the countdown.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 44:A detailed look at the Roman art of Pantomime which was the preeminent form of dramatic art during the Imperial period.Dr Elodie Palliard's thoughts on why Pantomime dominated and how it was used by the Emperors.The origins of PantomimeThe performers Pylades, Bathyllus and their relationship with Emperor AugustusPantomime as a non-verbal performance styleDescription of Pantomime and the regiment for it's supremacy over other forms by LucianThe banishment of performers and their reinstatement by CaligulaCaligula and pantomimeThe morality of pantomime2nd century description of pantomime by Apuleius.Dr Paillard is Honorary Associate in the Department of Classics and Ancient History at the University of Sydney and lecturer and scientific collaborator in the Department of Ancient Civilizations at the University of Basel. She is currently leading a research project on Greek theatre in Roman Italy, funded by the Swiss National Science Foundation. She is the author of 'The Stage and the City. Non-élite Characters in the Tragedies of Sophocles' (Paris 2017).She is currently co-editing two forthcoming collective volumes, one on Greek Theatre and Metatheatre: Definitions, Problems & Limits and one on Theatre and Autocracy in the Ancient World.  In parallel to her interest in ancient Greek theatre, she is also working on the social structure of Classical Athens and the emergence of democracy.You can connect with her on Twitter @elopai This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 43:The history of Roman Mime, one for the two dramatic forms that dominated theatre in the Roman Imperial period.A word on Horace and his work The Art Of Poetry, one of the most influential works of dramatic theory. His rules for the stage and where he did and didn’t agree with AristotleThe differences between Mime and other dramatic formsThe origins of mime in Greece ad the Greek colonies in ItalyMime in Rome and at the Ludi festivalsThe limits of textual evidence for mimeSome descriptions of mime plays and titlesMoral issues with mime because of the content relating to adulteryMime of political satire, including stories from Tiberius, Caligula, Nero and Vespasian.Mime as part of religious festivalsWomen performers in MimeIf you would like to support the podcast please find us at:www.Patreon.com or www.ko-fi.com.  Follow us on Twitter and Facebook @THOETPThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 42:This episode takes a detailed look at Phaedra, Seneca's version of the Hippolytus myth.The two versions by Euripides and how Seneca used theseA summary of the playThe differences in Seneca's version from Euripides -The position of Phaedra as innocent or responsibleGreek shame Vs Roman guilt and repentancePhaedra and the Roman bas step-mother tropeThe play in relation to Stoic philosophyThe motif of the hunt, the hunter and the huntedPresentations of the play in the medieval periodThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 41In this episode I take a detailed look at Seneca's version of Medea. The story of a woman who is a foreigner and a witch suited his form of dark tragedy perfectly.A summary of the narrative of the playThe impact of the language used and how it becomes overblown.An analysis of the final scene and why Seneca might have chosen to make this the only moment of visual drama in the play.Questions about how and if the play was staged and the use of stage machineryMedea as a witch and how that plays into Roman tropesThe character of Jason an his effect on the playA comparison of the Euripides version to Seneca'sThe legacy of Seneca's tragedy on the medieval period.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 40The life and tines of Seneca - Philosopher, Playwright, Poet and Statesman who operated in the time of emperor Nero.The origins of Roman Tragic drama and the little we know about it's exponents.The life of Seneca from his birth in Spain and education in Rome.Seneca's rise to political office. The accession Claudius and the rise of his wife Agrippina and her son Nero.Court intrigues and an eight year exile in Corsica.Rehabilitation and tutor to Nero.Life under Nero and Seneca's fall from favour and death.An overview of his nine playsThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 39The Brothers, dated to 160 BCE, is Terence’s last surviving work.  We have that date exactly because the play is recorded as being presented at the games held to honour the Roman general Lucius Aemillus Paullus.  The first presentation of the play and who was Lucius Aemillus Paullus?The prologue to the play and Terence's defence of his use of Greek plays to create a new piece.A synopsys of the playThe Brothers as a play of ideas and a discussion of it's main themes about the best way to raise sons.The external influences in an expanding Roman Republic and how they influence the play.The main characters Demea and Micio as more complex and developed characters than have been seen before.The role of Sannio the slave dealer and other minor characters.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 38A look at 'The Self Tormenter' by Terrence. Written in 162 or 163 BCE this is the story of disagreements between fathers and sons over the choice of women and how a clever slave almost wins the day.A synopsis of the pay with some comments about the Prologue, the action of the play and the general style.The way Terence changes the standard stock characters and makes them more rounded characters than anything we have seen before, including how the portrayal of the clever slave and the courtesan are more subtle than in previous plays.Some of the issues with the play.How Terence continued to use metatheatre and how he changed it.This podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 37Terence had a short life and left only six complete comic plays, but he moved the genre on from Plautus and other earlier dramatists.The story of his beginnings as a slave and how he came to RomeThe circles he moved in and how he got support from the Practician class and Caecilius Statius the best known comic dramatist of the day.A short word on the history of Caecilius Statius and Ambitious Turpio, producer and actor.Contemporary criticisms of Terence and his use of Greek comediesA brief review of the six surviving plays.The untimely death of Terence and his legacyThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 36The influence of Plautus and other Roman playwrights has long been understood, but what are those influences and how did the Roman plays come to the attention of Rennaisance playwrights?How manuscripts survived after antiquity and were rediscovered in the early Renaissance.The growth of secular drama in Italy and the role of Duke Ercole d'Este in FerraraTerence Vs Plautus as the Roman plays became known and appreciated in northern Europe.How early English plays used the Roman models and how the growing education system in Elizabethan England used Latin plays.The influence of Plautus on Shakespeare and similarities in settings, characters and plots.Ben Johnson's debt to PlautusThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 35The Menaechmus Brothers is taken from a Greek new comedy original and via this version by Plautus was used by later dramatists, most notably Shakespeare.In the first half of this episode I summaries the plot that features identical twins and gets quite complicated and confusing for all concerned.I then discuss the weaknesses in the play and it's more cynical outlook than seen in other plays by Plautus.A look at he naming of stock characters and some thoughts on the problematic female characters is followed by a look at the influence of the Saturnalia festival on the play.The theme of the identical twins is strong in the play and supported by other semantical elements in the structure and the Roman ideas of industria and voluptas.If you would like to support the podcast please find us at:www.Patreon.com or www.ko-fi.com.  Follow us on Twitter and Facebook @THOETPThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 34In this eisode we take a detailed look at Casina by Plautus. It's a tale of two men who try to use their slaves in a plot marry the young Casina by proxy.It has a prologue of particular interest. The usual stock characters are there, but for once the women come out strongly as they take control of the situation and thwart the plans in comic style.The play prompts a look at the role of the head of the household, the 'pater families' in Rome and as some suggestions that there is some social commentary on recent events concerning some recent behaviour of the Bacchic cult.If you would like to support the podcast please find us at:www.Patreon.com or www.ko-fi.comFollow us on Twitter and Facebook @THOETPThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 33The life and time of Plautus, the first Roman Playwright from whom we have surviving works. After a hard start he became the most popular of the Roman playwrights churning out comedy after comedy.This episode looks at his life story and playwriting career.Then there is a brief summary of his six most significant plays and a discussion of the role of the courtesan character in the plays, including how this reflects the reality of life for women and prostitutes in Roman society.A note on the lack of political commentary in the plays leads on to a look at how the prologue was used and to conclude I look at the legacy of Plautus in the way his plays have been used as source material for many later adaptations.To support the podcast please find us on:www.patreon.comwww.ko-fi.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

A little extra episode for Christmas week with best wishes to you all for the holiday season.If you would like to support the podcast please find us at:www.Patreon.com or www.ko-fi.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.

Episode 32An interview with theatre director Jimmy Walters about his 20217 production of Trackers of Oxyrhynchus by Tony Harrison. This version of the Satyr play 'Trackers' by Sophocles was originally performed by the National Theatre in 1988. Jimmy's revival in 2017 was at the Finborough Theatre in west London.In conversation we discussed the approach to the play and the way the adaptation by Tony Harrison put current social concerns at the heart of the play, which still remained true to many aspects of the original Greek play.Jimmy Walters' credits include productions of John Osborne's A Subject of Scandal and Concern, Julius Caesar, Improbable Fiction, A Naughty Night With Noël Coward, Hamlet (for a tour in the United Arab Emirates), I the Jury, Breaded Butler, and Dear Ray at the Edinburgh Festival. Recently he directed Billy Bishop Goes to War for Southwark playhouse and Jermyn Street Theatre and The Skin Game also for Jermyn Street Theatre, which due to the UK lockdown in 2020 was presented via Zoom.  Jimmy co-hosts the '…In quarantine' podcast with Alexandra Evans.  Season 1 discussed several Shakespeare plays and season 2 is taking on the challenge of discussing novels by Charles Dickens.  You can connect with Jimmy on Twitter @jimmywalters101 Please support the podcast atwww.patreon.comwww.ko-fi.comThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy Hosted on Acast. See acast.com/privacy for more information.