Skip to main content

ETHNOS_APP

Home • Search • Journals • List 0

Heron of Alexandria’s ‘Toy Theatre’ Automaton

Reality, Allusion and Illusion

Bibliographic Data

ID20066447
AuthorsRichard Beacham (corresponding author)
Year2013
Pages15-39
Publication date2013-01-01
Open AccessYes
TypeCHAPTER
VenueTheatre, Performance and Analogue Technology (SOURCE_BOOK)
PublisherPalgrave Macmillan UK (PUBLISHER)
DOI10.1057/9781137319678_2
OpenAlexW2399058792
ISBN9781137319678
LanguageEN
Citations received4
References cited9

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 was endorsed at the highest level, and emulation (and condemnation) followed. Seneca lamented how 'Throughout the whole City the private stage (privatum pulpitum) resounds; 'it is danced upon by both men and women; wives and husbands compete over which displays a more sensuous thigh' (Nat. Quaes. 7.32.3). Dio, recounting elite behaviour during the reign of Nero, notes dramatic performances, music, pantomimes, and choral presentations, enacted by people of both sexes and all ages, 'everyone displaying to best advantage whatever talent they possessed, with all the most distinguished people ... and everyone taking instruction for the purpose' (61.19.2). Taking his show on the road, the Emperor undertook a grand tour to Greece, performing (and winning 1808 victories) in the cycle of sacred agons: great competitive festivals comprising (in addition to athletic contests) theatre, poetry, and music

Ancient history · Art · Cult · Elite · Emperor · Political science · Politics · Reign · Rhetoric · Sculpture · Theology · Visual arts · Classical Antiquity Studies · Historical and Literary Studies · History · Law · Philosophy

  • Reading Fiction with Lucian

    Karen ní Mheallaigh•Reading Fiction with Lucian•2014

  • Wonder and the Marvellous from Homer to the Hellenistic World

    Open Access•Jessica Lightfoot•Wonder and the Marvellous from…•2021

  • Miracles of Technology and Art

    Open Access•Eva Anagnostou-Laoutides, Eva Anagnostou Laoutides•De Medio Aevo•2024

  • The Evolution of Apolline divination in Asia Minor

    Open Access•Giulia Frigerio•Journal of Cognition and Culture•2024

  • Playing places

    Open Access•Richard Beacham•The Cambridge Companion to Greek…•2007

  • The history of the Greek and Roman theater

    Margarete Bieber•The history of the Greek and…•1971

  • Tragedy in Athens

    Open Access•David Wiles, David John Wiles•Tragedy in Athens•1997

  • Scenes’ in Roman Drama

    Open Access•Rolando Ferri•The Classical Quarterly•2008

  • The Roman Theatre and Its Audience

    George W M Harrison, Richard C Beacham et al.•The Classical World•1993

  • Adolphe Appia Theatre Artist

    Richard C Beacham, Richard Beacham•Leonardo•1988

Citations per year0.33
Citation span2014 - 2024 (11)
Highly citedNo

Tools

Open DOILibgen
Ethnos_APP • Open Source Project • MIT License • Frontend v2.0.0 • Privacy and Cookies • API Documentation: api.ethnos.app/docs • API Source Code: GitHub • DOI: 10.5281/zenodo.17049435 • Frontend Source Code: GitHub • DOI: 10.5281/zenodo.17050053 • cruz.rio.br • Expectantes Misericordiae