This paper offers a holistic interpretation of the Apulian loutrophoros (Basel S21), attributed to the Laodamia Painter, and investigates the transmediality of the iconography of Alcestis’ death: from the myth to the theatrical drama, to the reception of the myth in philosophical discussions to the fortune of representation of Alcestis and her sons, chosen by the artists as positive paradeigma. Furthermore, this paper focuses on the figure of the paidagogos: since he is considered a theatrical marker in vase painting, I will question about this issue by showing cases in which the paidagogos has nothing to do with the performance, with the tragic plot, and the theatre.
Dying (as) Alcestis. Iconographic Notes on the Basel Loutrophoros S21
Gianfranco Adornato
2022
Abstract
This paper offers a holistic interpretation of the Apulian loutrophoros (Basel S21), attributed to the Laodamia Painter, and investigates the transmediality of the iconography of Alcestis’ death: from the myth to the theatrical drama, to the reception of the myth in philosophical discussions to the fortune of representation of Alcestis and her sons, chosen by the artists as positive paradeigma. Furthermore, this paper focuses on the figure of the paidagogos: since he is considered a theatrical marker in vase painting, I will question about this issue by showing cases in which the paidagogos has nothing to do with the performance, with the tragic plot, and the theatre.| File | Dimensione | Formato | |
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