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Mosaics [Ancient ] --- Mosaïques anciennes --- Mosaïques de l'antiquité --- Mozaïeken [Antieke ] --- Mozaïeken van de oudheid --- Mosaics, Ancient --- Mosaics, Greek --- Mosaics, Roman --- Mosaïque antique --- Mosaïque grecque --- Mosaïque romaine --- Mosaics, Ancient. --- 738.520938 --- Arts Ceramic Mosaics used with architecture Ancient world Greece --- Mosaïque antique --- Mosaïque grecque --- Mosaïque romaine

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Mosaics, Roman --- Mosaics --- Pavements, Mosaic --- Africa, North --- Antiquities, Roman --- 902 <61> --- 738.5 --- -Mosaics, Roman --- -Pavements, Mosaic --- -#BIBC:bibl.Reekmans --- Mosaic pavements --- Floors --- Mosaic floors --- Decoration and ornament --- Decorative arts --- Archeologie--Noord-Afrikaanse Staten. Maghreb. Noord-Afrika --- Mozaieken --- -Barbary States --- Maghreb --- Maghrib --- North Africa --- Antiquities, Roman. --- 738.5 Mozaieken --- 902 <61> Archeologie--Noord-Afrikaanse Staten. Maghreb. Noord-Afrika --- -Antiquities, Roman --- #BIBC:bibl.Reekmans --- Barbary States --- Mosaics, Roman - Africa, North --- Mosaics - Africa, North --- Pavements, Mosaic - Africa, North --- Africa, North - Antiquities, Roman

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Theater, spectacle, and performance played significant roles in the political and social structure of the Roman Empire, which was diverse in population and language. A wide and varied range of entertainment was available to a Roman audience: the traditional festivals with their athletic contests and dramatic performances, pantomime and mime, the chariot races of the circus, and the gladiatorial shows and wild beast hunts of the arena. In Theater and Spectacle in the Art of the Roman Empire, which is richly illustrated in color throughout, Katherine M.D. Dunbabin emphasizes the visual evidence for these events. Images of spectacle appear in a wide range of artistic media, from the mosaics and paintings that decorated wealthy private houses to the sculpture of tomb monuments, and from luxury objects such as silver tableware to more humble ceramic lamps and pottery vessels. Dunbabin places the information derived from this visual material into the wider context provided by the written sources, both literary and epigraphic. This allows us to understand the functions that these images served in the social rituals of public and domestic life. By explicating both the social and cultural role of the spectacles themselves and the nature of their representation in art, Dunbabin provides a comprehensive portrait of the popular culture of the period.

Theater --- Entertainment events --- Popular culture --- Theater in art. --- Spectacular, The --- Art, Roman --- Art and society --- Théâtre --- Spectacles et divertissements --- Culture populaire --- Théâtre dans l'art --- Spectaculaire dans l'art --- Art romain --- Art et société --- History. --- History --- In art. --- Themes, motives. --- Histoire --- Thèmes, motifs --- Theatrical science --- Iconography --- Antiquity --- Theater in art --- Spectacular, The, in art --- Art --- Art and sociology --- Society and art --- Sociology and art --- Roman art --- Classical antiquities --- Art and theater --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Amusements --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Themes, motives --- Social aspects --- Theater - Rome - History --- Entertainment events - Rome - History --- Popular culture - Rome --- Art, Roman - Themes, motives --- Art and society - Rome

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La dimension incontestablement littéraire des œuvres théâtrales de l'Antiquité ne doit pas faire oublier les aspects plus matériels et plus concrets de spectacles qui étaient aussi visuels et qui requéraient la présence sur scène de ceux auxquels nous réservons le terme générique d'acteurs. Il est de nombreuses manières d'étudier les multiples facettes de ce métier et d'analyser toutes les connotations, positives ou négatives, qui y sont attachées. Si les spécialistes du monde grec s'intéressent logiquement à la genèse et aux pratiques dramatiques des comédiens, tragédiens ou simples amuseurs ; les historiens de Rome sont plus sensibilisés à l'infamie dans laquelle le droit reléguait l'acteur et aux relations souvent complexes que ce dernier entretenait avec le pouvoir, aristocratique ou monarchique. Les organisateurs du colloque organisé à Tours les 4 et 5 mai 2002 se sont proposés comme objectif de répondre aux différentes questions que soulève le statut de l'acteur en laissant la parole à des spécialistes internationaux des spectacles antiques (Canada, France, grande-Bretagne, Italie) et en prenant le parti d'une diachronie qui va de la naissance du théâtre jusqu'à l'Antiquité tardive. Les principaux thèmes abordés au cours de cette rencontre ont été regroupés en quatre parties : la naissance d'un monde professionnel ; l'identification de l'acteur ; l'acteur dans la cité ; l'acteur face au pouvoir.

Theater --- Actors --- Acting --- Theater and society --- Théâtre --- Acteurs --- Art dramatique --- Théâtre et société --- History --- Congresses --- Histoire --- Congrès --- Congresses. --- Théâtre --- Théâtre et société --- Congrès --- Classical Greco-Roman theatre --- Actor --- Greece --- Rome --- Actors - Greece - Congresses. --- Actors - Rome - Congresses. --- Theater - Greece - Congresses. --- Theater - Rome - Congresses. --- théâtre --- acteur --- Grèce antique --- époque hellénistique --- pantomime --- comique --- Rome antique