Richard Beacham
Biographic Data
| ID | 4000667 |
|---|---|
| NAME | Richard Beacham |
| GIVEN NAMES | Richard |
| FAMILY NAME | Beacham |
| SIGNATURE | BEACHAM R |
| AFFILIATIONS | University of Warwick |
| VERIFIED | No |
| TOTAL WORKS | 20 |
| TOTAL CITATIONS | 68 |
| WORKS AS AUTHOR | 20 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1979 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 3 |
Living Theatre in the Ancient Roman House
For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environmen…
Theatre of Cruelty
The Flavian Dynasty emerged from a theatrically violent episode of civil war; in the bloody chaos of Rome’s streets, political competition played out before a literally captive audience. Vespasian built on these experiences, incorporating mass performance venues into his triumphal route, while using live performance elements to recreate highlights of the Judaean campaign. The Colosseum project headlined the family’s work to restore Rome’s strengt…
Heron of Alexandriaâ s â Toy Theatreâ Automaton
Heron of Alexandria’s ‘Toy Theatre’ Automaton
The Emperor Nero (37 bc – ad 68) was notoriously known, as 'imperator scaenicus',1 a patron and practitioner of theatre so excessive in his espousal that his personality and reign came to be seen (then and later) as theatricalism 'run rampant'; wrought up to encompass painting, architecture, public ceremony, political rhetoric, and all manner of both public and private expression. Of course, with a performing Emperor, such a cult of theatricalism…
Otium, Opulentia and Opsis
By the period of the late Republic / early Principate, the typical Pompeian town house was divided into two distinct and, to a significant extent, functionally separate realms. The first consisted of the fauces and/or vestibulum , leading on to the atrium , tablinum and adjacent rooms. The provision of a peristyle, an architectural entity widely found in the Greek world, evoked both the Greek peristyle house, but also the Hellenic shrines and pal…
Concerning the Paradox of Paradata. Or, “I don’t want realism; I want magic!”
Traditional written historical investigation and analysis have from the beginning consisted of a sometimes unstable mixture of fact and conjecture, hard evidence and inspired imagination. To encourage 3-D modelling of cultural heritage artefacts to be taken seriously as historical scholarship this inevitable and ambiguous balance can be highlighted and to a significant degree documented and modulated by London Charter principles. This enhances th…
Playing places
Early in the second century AD, during the reign of Hadrian, the proposed structural and functional conversion of the Theatre of Dionysus to stage gladiatorial combats within it led to rioting. The orator Musonius had earlier urged the Athenians to use peaceful persuasion to have the gladiatorial games banned from the sacred precinct of Dionysus. Subsequently the cynic philosopher Demonax went further, opposing gladiatorial games altogether and a…
The Cambridge Companion to Greek and Roman Theatre
This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part …
The Cambridge Companion to the Age of Augustus
The age of Augustus, commonly dated to 30 BC – AD 14, was a pivotal period in world history. A time of tremendous change in Rome, Italy, and throughout the Mediterranean world, many developments were underway when Augustus took charge and a recurring theme is the role that he played in shaping their direction. The Cambridge Companion to the Age of Augustus captures the dynamics and richness of this era by examining important aspects of political …
The Pompey Project
Playing Around with Plautus, or “How Can I be Expected to Act with All These People Looking at Me?”
There is a nicely surreal moment in Plautus’ play, Pseudolus (lines 613–15), when Pseudolus has disguised himself, and, as he confides in an aside to the audience, is setting out to trick another character, Harpax.1 Upon meeting the disguised Pseudolus, Harpax says in an aside to the audience, ‘This man is bad news!’ Pseudolus responds, also in an aside to the audience, ‘The gods are on my side! This guy’s a regular anvil on which I’ll hammer out…
Mind the gap
The article examines the use of computer modelling technologies as a methodological research tool in theatre based research. It looks at the problems encountered with translating previous scholarship into three dimensions and how 3D visualisation can enhance our understanding of prior architectural hypotheses and test new ones
The Roman Theatre and Its Audience
Plautus
Persa, Palmer Bovie Menaechmi, Palmer Bovie Cistellaria, R.H.W. Dillard Pseudolus, Richard Beacham Stichus, Carol Poster and Vidularia, John Wright
The Roman Theatre and Its Audience
Drawing on recent archaeological investigations, new scholarship and its author's own original research and staging experience, this book is the first extended English-language treatment of the Roman theatre to be published in several decades. With the aid of thirty-five black and white illustrations, a full bibliography and index, The Roman Theatre and its Audience provides an intriguing account for general readers and students, while presenting…
The Roman Theatre and Its Audience
The Roman Theatre and Its Audience
Adolphe Appia. Theatre Artist
Adolphe Appia Theatre Artist
The Development of the Roman Stage
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
The Roman Theatre and Its Audience
Drawing on recent archaeological investigations, new scholarship and its author's own original research and staging experience, this book is the first extended English-language treatment of the Roman theatre to be published in several decades. With the aid of thirty-five black and white illustrations, a full bibliography and index, The Roman Theatre and its Audience provides an intriguing account for general readers and students, while presenting…
The Roman Theatre and Its Audience
The Roman Theatre and Its Audience
The Pompey Project
Adolphe Appia Theatre Artist
The Development of the Roman Stage
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Adolphe Appia Theatre Artist
Adolphe Appia. Theatre Artist
The Roman Theatre and Its Audience
The Roman Theatre and Its Audience
The Roman Theatre and Its Audience
Drawing on recent archaeological investigations, new scholarship and its author's own original research and staging experience, this book is the first extended English-language treatment of the Roman theatre to be published in several decades. With the aid of thirty-five black and white illustrations, a full bibliography and index, The Roman Theatre and its Audience provides an intriguing account for general readers and students, while presenting…
The Roman Theatre and Its Audience
Plautus
Persa, Palmer Bovie Menaechmi, Palmer Bovie Cistellaria, R.H.W. Dillard Pseudolus, Richard Beacham Stichus, Carol Poster and Vidularia, John Wright
Playing Around with Plautus, or “How Can I be Expected to Act with All These People Looking at Me?”
There is a nicely surreal moment in Plautus’ play, Pseudolus (lines 613–15), when Pseudolus has disguised himself, and, as he confides in an aside to the audience, is setting out to trick another character, Harpax.1 Upon meeting the disguised Pseudolus, Harpax says in an aside to the audience, ‘This man is bad news!’ Pseudolus responds, also in an aside to the audience, ‘The gods are on my side! This guy’s a regular anvil on which I’ll hammer out…
Mind the gap
The article examines the use of computer modelling technologies as a methodological research tool in theatre based research. It looks at the problems encountered with translating previous scholarship into three dimensions and how 3D visualisation can enhance our understanding of prior architectural hypotheses and test new ones
The Pompey Project
The Cambridge Companion to the Age of Augustus
The age of Augustus, commonly dated to 30 BC – AD 14, was a pivotal period in world history. A time of tremendous change in Rome, Italy, and throughout the Mediterranean world, many developments were underway when Augustus took charge and a recurring theme is the role that he played in shaping their direction. The Cambridge Companion to the Age of Augustus captures the dynamics and richness of this era by examining important aspects of political …
Playing places
Early in the second century AD, during the reign of Hadrian, the proposed structural and functional conversion of the Theatre of Dionysus to stage gladiatorial combats within it led to rioting. The orator Musonius had earlier urged the Athenians to use peaceful persuasion to have the gladiatorial games banned from the sacred precinct of Dionysus. Subsequently the cynic philosopher Demonax went further, opposing gladiatorial games altogether and a…
The Cambridge Companion to Greek and Roman Theatre
This series of essays by prominent academics and practitioners investigates in detail the history of performance in the classical Greek and Roman world. Beginning with the earliest examples of 'dramatic' presentation in the epic cycles and reaching through to the latter days of the Roman Empire and beyond, this 2007 Companion covers many aspects of these broad presentational societies. Dramatic performances that are text-based form only one part …
Concerning the Paradox of Paradata. Or, “I don’t want realism; I want magic!”
Traditional written historical investigation and analysis have from the beginning consisted of a sometimes unstable mixture of fact and conjecture, hard evidence and inspired imagination. To encourage 3-D modelling of cultural heritage artefacts to be taken seriously as historical scholarship this inevitable and ambiguous balance can be highlighted and to a significant degree documented and modulated by London Charter principles. This enhances th…
Heron of Alexandriaâ s â Toy Theatreâ Automaton
Heron of Alexandria’s ‘Toy Theatre’ Automaton
The Emperor Nero (37 bc – ad 68) was notoriously known, as 'imperator scaenicus',1 a patron and practitioner of theatre so excessive in his espousal that his personality and reign came to be seen (then and later) as theatricalism 'run rampant'; wrought up to encompass painting, architecture, public ceremony, political rhetoric, and all manner of both public and private expression. Of course, with a performing Emperor, such a cult of theatricalism…
Otium, Opulentia and Opsis
By the period of the late Republic / early Principate, the typical Pompeian town house was divided into two distinct and, to a significant extent, functionally separate realms. The first consisted of the fauces and/or vestibulum , leading on to the atrium , tablinum and adjacent rooms. The provision of a peristyle, an architectural entity widely found in the Greek world, evoked both the Greek peristyle house, but also the Hellenic shrines and pal…
Theatre of Cruelty
The Flavian Dynasty emerged from a theatrically violent episode of civil war; in the bloody chaos of Rome’s streets, political competition played out before a literally captive audience. Vespasian built on these experiences, incorporating mass performance venues into his triumphal route, while using live performance elements to recreate highlights of the Judaean campaign. The Colosseum project headlined the family’s work to restore Rome’s strengt…
Living Theatre in the Ancient Roman House
For the Romans, much of life was seen, expressed and experienced as a form of theatre. In their homes, patrons performed the lead, with a supporting cast of residents and visitors. This sumptuously illustrated book, the result of extensive interdisciplinary research, is the first to investigate, describe and show how ancient Roman houses and villas, in their décor, spaces, activities and function, could constitute highly-theatricalised environmen…
Art (17 works) · Classical Antiquity Studies (16 works) · History (11 works) · Visual arts (9 works) · Aesthetics (7 works) · Literature (7 works) · Law (6 works) · Political science (6 works) · Computer Science (5 works) · Philosophy (5 works)