List of Publications by Elodie Paillard
Books by Elodie Paillard
The relationship between Classical Athenian tragedy and democracy remains a much-discussed proble... more The relationship between Classical Athenian tragedy and democracy remains a much-discussed problem which deserves to be examined from as many points of view as possible. Although Sophocles has sometimes been seen as less tied to his contemporary world than other authors, his works are nonetheless closely related to their democratic context, both as a product of their time and as a means of encouraging their audiences to reflect on major political questions. This book explores the staging of non-elite characters in the seven extant tragedies of Sophocles and how they related to contemporary middling citizens. The structure
of fifth-century Athenian society underwent deep changes between the early and late plays of Sophocles. The appearance and growing political importance of a middling socio-political group of citizens played a crucial role in the development of Athenian democracy and this phenomenon is closely linked to the way in which non-elite characters are presented in Sophocles’ plays. To lead to a better understanding of the links between Sophoclean tragedies and democracy, the book analyses the text of Sophocles’ extant plays as carefully as it examines the structure of Athenian society on the basis of both historical and archaeological sources. The performances of Sophocles’ tragedies not only reflected changes that took place in the structure of contemporary society but also fostered such changes by attributing increasingly active roles to characters with whom middling citizens could easily identify.
Greek Theatre in Roman Italy, 2024
Post-Classical Greek drama has recently been the object of an increasing number of studies. One a... more Post-Classical Greek drama has recently been the object of an increasing number of studies. One aspect of its evolution and survival that has hitherto not received the thorough attention it deserves is the fact that dramatic performances in Greek language continued to take place in public in the heart of the Roman world, i.e. in Rome and in parts of Italy under Roman domination. Greek drama kept, in this context, its performative component and did not merely become an object of private élite consumption or education. This book offers a comprehensive analysis of this phenomenon, from the beginning of the Republic until the early Imperial period. It provides a catalogue of all passages in ancient literary and documentary sources that clearly indicate that theatrical performances in Greek were publicly staged in Roman Italy, with translations and analyses. Subsequent chapters discuss the implications of this phenomenon for our understanding of the relationship between Greece and Rome, as well as others questions, including why such performances were being organized in this context. This book will contribute to a better knowledge of Greek drama and open new perspectives in the study of its post-Classical existence.
Edited Volumes by Elodie Paillard
Theatre and Metatheatre: Definitions, Problems, Limits, 2021
The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars... more The aim of this book is to explore the definition(s) of ‘theatre’ and ‘metatheatre’ that scholars use when studying the ancient Greek world. Although in modern languages their meaning is mostly straightforward, both concepts become problematical when applied to ancient reality. In fact, ‘theatre’ as well as ‘metatheatre’ are used in many different, sometimes even contradictory, ways by modern scholars.
Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question.
Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other?
As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre.
Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
Theatre and Autocracy in the Ancient World, 2022
Research Projects by Elodie Paillard
2017-2021. 'Ambizione' research project funded by the Swiss National Science Foundation. The Univ... more 2017-2021. 'Ambizione' research project funded by the Swiss National Science Foundation. The University of Basel.
2016-2017. As Principal Investigator. Funded by the Swiss National Science Foundation.
Affiliatio... more 2016-2017. As Principal Investigator. Funded by the Swiss National Science Foundation.
Affiliation: The University of Sydney
2017-2020. As Partner Investigator (specific area of investigation: Greek theatre and Roman Emper... more 2017-2020. As Partner Investigator (specific area of investigation: Greek theatre and Roman Emperors and élites in Italy). Funded by the Australian Research Council. The University of Sydney
Articles by Elodie Paillard
Hermes, 2023
This article re-analyses in detail the meaning of the expression ludi Graeci which appears in two... more This article re-analyses in detail the meaning of the expression ludi Graeci which appears in two of Cicero’s letters (Ad Fam. 7,1 and Ad Att. 15,5). A careful examination of the first instance reveals that ludi Graeci indeed referred to theatrical performances in Greek language and not merely to Latin plays that followed Greek models. A brief survey of contemporary epigraphical sources shows that no occurrence excludes this interpretation. The question of the apparent contradiction between Cicero’s philhellenism and his criticism of the ludi Graeci in the two letters is also addressed, in order to demonstrate that the two attitudes are not mutually exclusive.
Akropolis, 2020
The article shows that Odysseus in Sophocles’ Ajax and Philoctetes is at the centre of a redefini... more The article shows that Odysseus in Sophocles’ Ajax and Philoctetes is at the centre of a redefinition of the concept of “nobility”. This figure has been seen to promote a new definition of the concept, but previous analyses tended to focus only on one or the other of the two plays, as Odysseus appeared too dissimilar to be considered from the same viewpoint. A closer analysis reveals that he defends the same values and is endowed with the same non-élite features in both plays. Among those values is the idea that nobility has nothing to do with descent, but with the ability at proving helpful to the whole social group. The perception other characters have of Odysseus, however, changes between the first and the second play. This change can be linked to the evolution of Athenian society.
Abstract and link to the full article on Jstor: see uploaded document.
Cahiers de l'Institut de Linguistique et des Sciences du Langage, 2020
This article proposes a new understanding of the etymology of histrio, that strongly links the wo... more This article proposes a new understanding of the etymology of histrio, that strongly links the word to the idea of visual elements. While histrio might indeed have found its way into Latin through Etruscan, it is likely that it originally came from Greek histor, as has been demonstrated by Szemerényi 1975. However, the conclusions presented by this scholar must be slightly revised, in particular the distinction he establishes between histrio and ludius. While the second word has been rightly linked to the oral component of dramatic performances, the first word ought to be understood as referring, originally, to performers of visual elements (moves, gestures, dance) and not to actors/reciters pronouncing words (spoken or sung). The arguments presented here also provide a basis for a new interpretation of Livy’s passage (VII, 2) on the origins of Roman drama and for a better explanation of the use of the word, in Imperial times, to refer to pantomime actors.
http://www.droz.org/en/6320-9782600018968.html
The Conversation, 2020
Secondary characters of Ancient Greek tragedy are more important than previously thought: they en... more Secondary characters of Ancient Greek tragedy are more important than previously thought: they encouraged the audience to think about their own society's prejudices and biases and also provided examples for non-élite spectators on how to increase their participation in a democratic society. Secondary characters in modern performances and movies also still play a similar role: they are often staged in a way that reflect modern social biases towards minorities or people not in dominant power positions but can also be staged as a way to counter such prejudices.
Book Chapters by Elodie Paillard
Violence et jeu de l'Antiquité à nos jours, 2023
A priori, la mise en scène de représentations théâtrales semble bien éloignée d’autres types de s... more A priori, la mise en scène de représentations théâtrales semble bien éloignée d’autres types de spectacles plus violents organisés dans le monde romain, souvent à l’occasion de triomphes militaires. Toutefois, il convient de s’interroger sur l’éventuelle « violence culturelle » qui pourrait se cacher derrière l’organisation de jeux théâtraux grecs par des généraux romains victorieux, et ce tout spécialement lorsque la victoire fêtée était en lien avec la conquête du monde grec. Dans ce contexte, faire venir à Rome des artistes scéniques d’origine grecque, pour jouer des pièces en grec devant un public romain, n’est pas sans rappeler la démonstration de pouvoir sur les peuples conquis qui était elle-même mise en scène lors des triomphes. Plusieurs exemples laissent penser que les vainqueurs exerçaient plus directement une forme de violence culturelle sur les représentants de la culture grecque en décidant du contenu du spectacle ou en méprisant ouvertement les représentations théâtrales en grec : il ne s’agissait pas simplement de faire venir à Rome les meilleurs artistes scéniques grecs parce qu’ils promettaient un admirable spectacle théâtral.
Theatre and Metatheatre: Definitions, Problems, Limits, 2021
This chapter explores the mutual influence between Latin and late Greek theatre. In particular, i... more This chapter explores the mutual influence between Latin and late Greek theatre. In particular, it shows how Rome's influence on late Greek dramatic production should encourage scholars to expand their definition of 'Greek theatre'.
Elodie Paillard / Silvia Milanezi, "Theatre", "Paratheatre", "Metatheatre": What are we talking about?, In: E. Paillard / S. Milanezi (eds.), Theatre and Metatheatre: Definitions, Problems, Limits, De Gruyter, 2021, pp. 1-16 Theatre and Metatheatre: Definitions, Problems, Limits, 2021
This chapter presents a reflection on the definition and use of "Theatre", "Metatheatre", and "Pa... more This chapter presents a reflection on the definition and use of "Theatre", "Metatheatre", and "Paratheatre" in the field of Ancient Greek studies.
Tragic Rhetoric. The Rhetorical Dimensions of Greek Tragedy, 2021
This chapter examines the rhetorical skills displayed by secondary (low-status) characters in the... more This chapter examines the rhetorical skills displayed by secondary (low-status) characters in the extant tragedies of Aeschylus, Sophocles, and Euripides. ‘Rhetorical skills’ are here broadly understood as the abilities required to have one’s voice heard and one’s opinion taken into account. These speaking abilities contribute to the socio-political characterization of tragic figures on stage and can foster the process of identification between (part of ) the audience and the fictional characters. Rhetorical abilities, however basic, were indeed a key to active political participation for Athenian citizens. As democracy evolved quickly during the fifth century, non-elite citizens began to assume an increasingly important role in political decisions processes, thanks to newly acquired speaking/rhetorical skills. This chapter will thus also examine whether this phenomenon can be linked to a clear chronological evolution, between early and late plays, in the rhetorical skills displayed by secondary characters on stage.
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List of Publications by Elodie Paillard
Books by Elodie Paillard
of fifth-century Athenian society underwent deep changes between the early and late plays of Sophocles. The appearance and growing political importance of a middling socio-political group of citizens played a crucial role in the development of Athenian democracy and this phenomenon is closely linked to the way in which non-elite characters are presented in Sophocles’ plays. To lead to a better understanding of the links between Sophoclean tragedies and democracy, the book analyses the text of Sophocles’ extant plays as carefully as it examines the structure of Athenian society on the basis of both historical and archaeological sources. The performances of Sophocles’ tragedies not only reflected changes that took place in the structure of contemporary society but also fostered such changes by attributing increasingly active roles to characters with whom middling citizens could easily identify.
Edited Volumes by Elodie Paillard
Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question.
Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other?
As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre.
Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
Research Projects by Elodie Paillard
Affiliation: The University of Sydney
Articles by Elodie Paillard
Book Chapters by Elodie Paillard
of fifth-century Athenian society underwent deep changes between the early and late plays of Sophocles. The appearance and growing political importance of a middling socio-political group of citizens played a crucial role in the development of Athenian democracy and this phenomenon is closely linked to the way in which non-elite characters are presented in Sophocles’ plays. To lead to a better understanding of the links between Sophoclean tragedies and democracy, the book analyses the text of Sophocles’ extant plays as carefully as it examines the structure of Athenian society on the basis of both historical and archaeological sources. The performances of Sophocles’ tragedies not only reflected changes that took place in the structure of contemporary society but also fostered such changes by attributing increasingly active roles to characters with whom middling citizens could easily identify.
Through a series of papers examining questions related to ancient Greek theatre and dramatic performances of various genres the use of those two terms is problematized and put into question.
Must ancient Greek theatre be reduced to what was performed in proper theatre-buildings? And is everything was performed within such buildings to be considered as ‘theatre’? How does the definition of what is considered as theatre evolve from one period to the other?
As for ‘metatheatre’, the discussion revolves around the interaction between reality and fiction in dramatic pieces of all genres. The various definitions of ‘metatheatre’ are also explored and explicited by the papers gathered in this volume, as well as the question of the distinction between paratheatre (understood as paratragedy/comedy) and metatheatre.
Readers will be encouraged by the diversity of approaches presented in this book to re-think their own understanding and use of ‘theatre’ and ‘metatheatre’ when examining ancient Greek reality.
Affiliation: The University of Sydney
Conference University of Sydney, 26-27 July 2018.
Travel bursaries for PhD students available