The contribution discusses the modern interpretations of the ancient iconographical repertoire concerning the Atellana farsa. In fact, very little is known on the personages dramatized by the Atellana tradition, especially on those of the pre-literary Atellana. Certainly the peculiar character of the Atellana’s figures was the grotesque and ridiculous aspect, but the individual physiognomy of each masks is not attested by literary or by archaeological evidences. Moreover, since the Late Classical and Early Hellenistic period ‘the ridiculousness’ pertained to many other categories of theatrical figures, likes comedy’s actors, interpreters of the phlyax farsa, grotesque figurines, grylloi etc. Consequently, the traditional identifications of the Atellana’s masks are problematic and destineted to remain only a hypothesis.
L’Atellana nella cultura figurativa: presenze/assenze e consonanze di temi
SANTUCCI, ANNA
2013
Abstract
The contribution discusses the modern interpretations of the ancient iconographical repertoire concerning the Atellana farsa. In fact, very little is known on the personages dramatized by the Atellana tradition, especially on those of the pre-literary Atellana. Certainly the peculiar character of the Atellana’s figures was the grotesque and ridiculous aspect, but the individual physiognomy of each masks is not attested by literary or by archaeological evidences. Moreover, since the Late Classical and Early Hellenistic period ‘the ridiculousness’ pertained to many other categories of theatrical figures, likes comedy’s actors, interpreters of the phlyax farsa, grotesque figurines, grylloi etc. Consequently, the traditional identifications of the Atellana’s masks are problematic and destineted to remain only a hypothesis.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
