The banner for the 2023 NEH Institute for Higher Education Faculty, "The Performance of Roman Comedy." A beige background. At top, in black Art Deco capital lettering, reads: The Performance of Roman Comedy. Below that, in white sentence-case Art Deco lettering, reads: Boston College & Wake Forest University • Chestnut Hill, MA • July 9–August 4, 2023. Below that, four Art Deco figures in bright colors representing ancient Roman actors, left to right: a red-skinned bald person with a beard and asymmetrical eyebrow, wearing a yellow toga, on a sky-blue background; a light-skinned person with brown hair and a slate palla playing the double pipes on a green background; a red-skinned bald beardless person with a big smile and a blue toga with arms stretched overhead, on a mustard background; and a light-skinned figure wearing red palla and head covering with Green skirt with a big frown, on a red background. In the bottom left, in tiny letters: art by Kevin Quigley.

Every participant will be involved in the adaptation, rehearsal, performance, recording, and dissemination of two scenes: one ensemble scene, and one two- or three-person scene. The afternoon of each day of the Institute will be entirely devoted to preparing the scenes in small groups.

The Institute directors will assemble groups with great care, incorporating a variety of considerations, including a participant’s knowledge of Latin or not, ability to read music or not, experience acting or not, experience singing or not, and interest in performance styles (e.g., with full-face masks; improvisational; slapstick).

The scenes below are accompanied by readings tied to each particular scene. These readings will be made available to all participants in advance of the Institute.

A photo of a modern audience packing an ancient theater for a theatrical production. It's night-time, and we're looking from the back of one wing of the seats, down at the circular orchestra, and with lots of seats (filled with people) arcing around it.

Ancient Theater in the Peloponnese” by ngupta is licensed under CC BY-NC-SA 2.0 .


Ensemble scenes

Plautus Asinaria 828–947. The play’s finale: the son (Argyrippus) has finally gotten the money to pay for time with the sex-laborer (Philaenium) he’s enamored with, but at the cost of giving the first night of sex to his own father (Demaenetus), who canoodles with Philaenium in front of Argyrippus. Meanwhile, another young man’s unnamed parasite takes vengeance on Demaenetus by exposing him to his wife Artemona, who drags Demaenetus home in shame.
Readings:

Plautus Casina 855–1018. The play’s finale: the horny old man and his enslaved overseer Olympio, who have both been trying to get sexual access to Casina during the entire play, have an enslaved man (Chalinus) passed off to them in disguise as Casina, and then have all their misdeeds and sexual misadventures brought out into the open by the enslaved woman Pardalisca, the old man’s wife Cleostrata, and her friend Myrrina.
Readings:

An Art Deco figure in bright colors representing an ancient Roman actor: a red-skinned bald person with a beard and asymmetrical eyebrow, wearing a yellow toga, on a sky-blue background. Art by Kevin Quigley.

Plautus Curculio 1–215. The play’s opening scene: the young man Phaedromus leads a nighttime procession of people he enslaves, including Palinurus, to visit the house of the sex-trafficker for a tryst with Planesium, whom the sex-trafficker holds enslaved.  The drunken door-keeper Leaena sings a solo, there’s a three-part song sequence between her, Phaedromus, and Palinurus, and then Planesium joins for a brief interlude before day breaks and the sex-trafficker returns.
Readings:

Plautus Persa 549–710. The enslaved trickster and lover Toxilus deceives the sex-trafficker Dordalus into purchasing the parasite’s unnamed free daughter, disguised as an enslaved sex-laborer from Persia, with Toxilus’ enslaved sidekick Sagaristio disguised as the play’s titular Persian man.
Readings:

Plautus Rudens 664–891. Two shipwrecked women claim sanctuary at a shrine of the goddess Venus, seeking to escape the clutches of the ruthless pimp Labrax. A large cast of characters comes to fight each other for control of the women.
Readings:

Terence Adelphoe 155–287. The young man Aeschinus violently abuses the sex-trafficker Sannio over a perceived slight.

Readings:

A photo generated by DALL•E of four actors in a comedy. Their costumes have 1990s aesthetics: one bright yellow and orange, two tan and khaki, one white and black. Their faces are messed-up looking because it's a computer generation.

Image created by T. H. M. Gellar-Goad using DALL·E.


Two- and three-person scenes

Plautus Amphitruo 633–860. After being away for a long time at war, the mythical hero Amphitruo returns home to his wife, who has been sleeping with the god Jupiter disguised as her husband. They are confused by each other’s reactions, leading eventually to accusations of infidelity, cruelty, and lies. Jupiter amplifies the confusion by duplicating a prop, a golden bowl Amphitruo won in battle and planned to give to his wife but that she has already received from the god.
Readings:

Plautus Menaechmi 753–875. Because nobody in Epidamnus realizes there are identical twins both named Menaechmus, a nonstop comedy of errors and misidentification ensues, and everyone thinks everyone else is crazy. In this scene, Epidamnian Menaechmus’ wife and father-in-law have summoned a (quack) doctor to evaluate Menaechmus’ insanity — but which Menaechmus is it?
Readings:

Plautus Pseudolus 905–1037. The eponymous enslaved trickster meets his match in Simia, an enslaved trickster who knows everything Pseudolus wants before Pseudolus says it, and who outwits both Pseudolus and the sex-trafficker Ballio.
Readings:

Terence Eunuchus 539–614. The young man Chaerea describes to his military buddy Antipho what he has just done inside the sex-laborer’s house: disguised himself as the titular eunuch and raped Pamphila, the young woman with whom he is infatuated.
Readings:

A digital painting generated by DALL•E of three masked actors on stage. The actors are wearing brightly colored tunics (teal, blue, yellow). The masks cover their faces and are much larger than normal heads. The one on the left is red, blue, teal, yellow, and white. The one in the middle is red and yellow. The one on the right is white, red, yellow, and blue.

Image created by T. H. M. Gellar-Goad using DALL·E.


The Performance of Roman Comedy has been made possible by a major grant from the National Endowment for the Humanities: Democracy demands wisdom.

The official logo of the NEH. On the right, in all caps, "National Endowment for the Humanities." On the left, the seal of the NEH: A blue circle with "National Endowment" in all caps along the upper half, a star at the left and right midpoints of the circle, and "for the Humanities" in all caps along the lower half. Within the circle, on a white background, is the coat of arms of the United States of America: a bald eagle looking to its right with wings and legs spread. Above its head, a circular white cloud surrounding a hexagonal blue sky with thirteen white stars in it. In its beak, a gold ribbon that flows out to the right and left sides of its head, reading, in all caps, E Pluribus Unum. On its breast, a shield with a horizontal blue rectangle at top and 13 vertical stripes below, 7 white, 6 red. In its right talons, an olive branch. In its left talons, a bunch of 13 arrows.

Any views, findings, conclusions, or recommendations expressed in this program do not necessarily represent those of the National Endowment for the Humanities.