By Karen Bassi
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Additional info for Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece
Like Aristotle and Freud, he envisions himself and his readers as elite male citizens in fifth-century Athens. We are far from the hero. A good portion of the entire city's population sits around us. We all look down the vast cupped slope into the stone bull's-eye, the dancing ring with an altar at the center. " Here that transcendence is transhistorical-even eternal. It has its roots (once again) in the ritual origins of drama and the spiritual rebirth of the hero. " Goldman's analysis of theatrical experience may seem idiosyncratic, but it is not unique in scholarly literature.
13. I discuss this aspect of the Platonic dialogue in chap. 2. 14- Cf. " I discuss Schechner's reference later in this chapter. 20 Acting Like Men excellence (605a2), pleases a multitude of spectators by treating them to imitations and impersonations of every sort. External bodily dispositions and behaviors are clearly the focus of Socrates' critique of imitation or impersonation, in particular of the sorts of human dispositions and behaviors that good men, in their roles as good citizens, must avoid impersonating.
Plato would preserve the notion of an inner and essential soul idealized and localized in the masculine spectator (the guardian). For all its differences from Plato's critique, Aristotle's Poetics is engaged in a similar act of preservation. The repudiation of the effect of bodily impersonations-overt and political in Plato, curiously paradoxical in Aristotle-functions in the service of creating and maintaining the Nostalgia and Drama 31 integrity and stability of the masculine subject, a subject who is, above all else, not Oedipus.
Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece by Karen Bassi