2002
info:eu-repo/semantics/OpenAccess
Marie-Hélène Garelli, « Le spectacle final du Banquet de Xénophon . Le genre et le sens », HAL-SHS : histoire de l'art, ID : 10670/1.3ulpox
The show presented by the dancing master at the end of Xenophon's Banquet aroused quite a number of controversies. Is it a forerunner of the imperial pantomime or simply a mime? The part of dancing is not as great as has often been alleged. But neither is it a formal literary mime like those of Sophron or Herondas. The show rests on a mimic that was likely to belong, at the date, to any kind of fun fair show given by thaumatopoioi: those little shows had no strict boundaries, mixing acrobatics, music, dancing and mime. This study shows that beyond an interest in form, what matters is meaning: that show, skillfully substituted for the sensual debauchery often expected at the end of a banquet, is undoubtedly a parody and can be related to the theme of the work, ranging round the figure of integrating Dionysos