Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 17 - Performance and Performers at Court

  • Edited by Benjamin Kelly, York University, Toronto, Angela Hug, York University, Toronto
  • Book:
    The Roman Emperor and his Court c. 30 BC–c. AD 300
    Published online:
    29 September 2022
    Print publication:
    20 October 2022, pp 419-437

  • Summary

    Ancient and modern observers of the Roman court have often characterized it as a fundamentally theatrical space. Court ‘performances’ therefore included senators flattering the imperial family, imperial family members costumed as deities, conspirators disguising their intentions, and the emperor himself, who could play a variety of roles. But performance in the formal sense was also central to court culture, so this chapter explores the sorts of performances occurring in court contexts (tragedy, comedy, pantomime, storytelling, etc.). It also examines the wider role in the court of the (often low-status) performers, including actors, pantomime dancers, storytellers, and jesters. They fundamentally shaped the court’s cultural life, and could themselves be powerful, popular, and wealthy. But they were also disposable court bodies with precarious court positions, since their performances could incite political controversy, and they stood in the place of others who wanted closer access to the emperor.