Lucius Ambivius Turpio

Last updated

Lucius Ambivius Turpio (often referred to simply as "Turpio") was an actor, stage manager, patron, promoter and entrepreneur in ancient Rome around the time of the playwright Terence, that is, around the 2nd century BC. [1] Formerly working with the playwright Caecilius Statius, and already known as a promoter of contemporary comic writers, [2] Turpio moved on to serve as the producer and lead actor in most if not all of Terence's plays. [3] [4] [5] [6] [7]

Career

In some ways, Turpio served as Terence's metatheatrical mouthpiece on stage. [8] In several of his plays Terence began with a prologue to the audience explaining his method of playwriting, ostensibly spoken by an actor in a manner suggesting a close relationship with the playwright. In at least two plays— Heauton Timorumenos (The Self-Tormentor) and Hecyra (The Mother-in-Law) —this speaker in the prologue explicitly identifies himself as Turpio. [8] [9]

The general scholarly opinion is that it was Turpio who purchased all of Terence's pieces after they were put up for sale, [2] and his acting troupe that was the primary performer of most of Terence's works. [7]

Related Research Articles

Lucius Afranius was an ancient Roman comic poet who lived at the beginning of the 1st century BC.

<span class="mw-page-title-main">Terence</span> Roman comic playwright

Publius Terentius Afer, better known in English as Terence, was an African Roman playwright during the Roman Republic. His comedies were performed for the first time around 166–160 BC. Terentius Lucanus, a Roman senator, brought Terence to Rome as a slave, educated him and later on, impressed by his abilities, freed him. It is thought that Terence abruptly died, around the age of 25, likely in Greece or on his way back to Rome, due to shipwreck or disease. He was supposedly on his way to explore and find inspiration for his comedies. His plays were heavily used to learn to speak and write in Latin during the Middle Ages and Renaissance Period, and in some instances were imitated by William Shakespeare.

<span class="mw-page-title-main">20s</span> Third decade of the first century AD

The 20s decade ran from January 1, AD 20, to December 31, AD 29.

AD 25 (XXV) was a common year starting on Monday of the Julian calendar. At the time, it was known as the Year of the Consulship of Lentulus and Agrippa. The denomination AD 25 for this year has been used since the early medieval period, when the Anno Domini calendar era became the prevalent method in Europe for naming years.

<span class="mw-page-title-main">Innamorati</span> Stock characters within the theatre style known as Commedia dellarte

Gli Innamorati were stock characters within the theatre style known as commedia dell'arte, who appeared in 16th century Italy. In the plays, everything revolved around the Lovers in some regard. These dramatic and posh characters were present within commedia plays for the sole purpose of being in love with one another, and moreover, with themselves. These characters move elegantly and smoothly, and their young faces are unmasked unlike other commedia dell'arte characters. Despite facing many obstacles, the Lovers were always united by the end.

<span class="mw-page-title-main">Tragedy</span> Genre of drama based on human suffering

Tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.

<span class="mw-page-title-main">Jodocus Badius</span>

Jodocus Badius, also known as Josse Badius, Jodocus van Asche Badius, and Badius Ascensius, was a pioneer of the printing industry, a renowned grammarian, and a pedagogue.

<span class="mw-page-title-main">Philip Massinger</span> English playwright (1583–1640)

Philip Massinger was an English dramatist. His finely plotted plays, including A New Way to Pay Old Debts, The City Madam, and The Roman Actor, are noted for their satire and realism, and their political and social themes.

<span class="mw-page-title-main">Theatre of ancient Greece</span> Greek theatre

Ancient Greek theatre was a theatrical culture that flourished in ancient Greece from 700 BC. The city-state of Athens, which became a significant cultural, political, and religious place during this period, was its centre, where the theatre was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy, comedy, and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.

<span class="mw-page-title-main">Ancient Greek comedy</span> Genre of ancient Greek literature

Ancient Greek comedy was one of the final three principal dramatic forms in the theatre of classical Greece. Athenian comedy is conventionally divided into three periods: Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes; Middle Comedy is largely lost, i.e. preserved only in relatively short fragments by authors such as Athenaeus of Naucratis; and New Comedy is known primarily from the substantial papyrus fragments of Menander.

<span class="mw-page-title-main">Epilogue</span> Literary device

An epilogue or epilog is a piece of writing at the end of a work of literature, usually used to bring closure to the work. It is presented from the perspective of within the story. When the author steps in and speaks directly to the reader, that is more properly considered an afterword. The opposite is a prologue—a piece of writing at the beginning of a work of literature or drama, usually used to open the story and capture interest. Some genres, for example television programs and video games, call the epilogue an "outro" patterned on the use of "intro" for "introduction".

<span class="mw-page-title-main">Theatre of ancient Rome</span> Theatrical genre

The architectural form of theatre in Rome has been linked to later, more well-known examples from the 1st century BC to the 3rd Century AD. The theatre of ancient Rome referred to as a period of time in which theatrical practice and performance took place in Rome has been linked back even further to the 4th century BC, following the state’s transition from monarchy to republic. Theatre during this era is generally separated into genres of tragedy and comedy, which are represented by a particular style of architecture and stage play, and conveyed to an audience purely as a form of entertainment and control. When it came to the audience, Romans favored entertainment and performance over tragedy and drama, displaying a more modern form of theatre that is still used in contemporary times.

<span class="mw-page-title-main">Fabula palliata</span> Theatrical genre

Fabula palliata is a genre of Roman drama that consists largely of Romanized versions of Greek plays. The name palliata comes from pallium, the Latin word for a Greek-style cloak. It is possible that the term fabula palliata indicates that the actors who performed wore such cloaks. Another possibility is that the fabula itself is metaphorically "cloaked" in a Greek style. As in all Roman drama, the actors wore masks that easily identified which of the stock characters they represented.

<span class="mw-page-title-main">Drama</span> Artwork intended for performance, formal type of literature

Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics —the earliest work of dramatic theory.

<span class="mw-page-title-main">Theatre</span> Collaborative form of performing art

Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. It is the oldest form of drama, though live theatre has now been joined by modern recorded forms. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Places, normally buildings, where performances regularly take place are also called "theatres", as derived from the Ancient Greek θέατρον, itself from θεάομαι.

Didascaliae are a compilation of production notices for several stage works of ancient Rome. This incomplete record was probably compiled some time around the 1st century BC, and contains notes on the Stichus and Pseudolus of Plautus and all the plays of Terence, after which they were sometimes called Didascaliae Terentianae. The notes contain information about the first performance of the works, games that were played there, the plays' directors and producers, musical composers, the nature of the musical score, the Roman consuls that year, etcetera. In some cases, details about subsequent revivals are also preserved.

<span class="mw-page-title-main">Greek lyric</span> Body of lyric poetry written in dialects of Ancient Greek

Greek lyric is the body of lyric poetry written in dialects of Ancient Greek. It is primarily associated with the early 7th to the early 5th centuries BC, sometimes called the "Lyric Age of Greece", but continued to be written into the Hellenistic and Imperial periods.

Commedia erudita are Italian comedies written for the enjoyment of scholars in the sixteenth century. They were meant to mimic and emulate the works of Terence and Plautus.

Joan Temple was a British actress and playwright, best known for her play No Room at the Inn which was made into a film of the same name.

The Bellum Octavianum was a civil war of the Roman Republic, fought in 87 BC between the two consuls of that year, Gnaeus Octavius and Lucius Cornelius Cinna. Cicero gave it its name after the consul Octavius. It ended either in late 87 BC or early 86 BC and led directly to Sulla's civil war 4 years later.

References

  1. Brown, Peter George McCarthy (1996), "Ambivius Turpio, Lucius", in Hornblower, Simon; Spawforth, Anthony (eds.), Oxford Classical Dictionary (3rd ed.), /smith-bio/3526.html{{citation}}: CS1 maint: location (link) CS1 maint: location missing publisher (link)
  2. 1 2 Slater, William J. (1996). Roman theater and society: E. Togo Salmon Conference papers I, Volume 1993. Ann Arbor: University of Michigan Press. pp. 33–36. ISBN   0-472-10721-6.
  3. Didascaliae Terentianae
  4. Cicero, de Senectute 48
  5. Tacitus, Dialogus de Oratoribus 20
  6. Quintus Aurelius Symmachus, Epistles i. 25, x. 2
  7. 1 2 Marshall, C.W. (2006). The Stagecraft and Performance of Roman Comedy. New York City: Cambridge University Press. pp. 85–86. ISBN   0-521-86161-6.
  8. 1 2 Sharrock, Alison (2009). Reading Roman Comedy: Poetics and Playfulness in Plautus and Terence. New York City: Cambridge University Press. pp. 65–66, 74–75. ISBN   978-0-521-76181-9.
  9. Pucci, Joseph (1998). The Full-Knowing Reader: Allusion and the Power of the Reader in the Western Literary Tradition. New Haven: Yale University Press. pp. 97–98. ISBN   0-300-07152-3.