The House as Theatre: Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html

Maurice Owen

Research output: Chapter in Book/Report/Published conference proceedingChapter

Abstract

The House as Theatre examines the thesis that ancient Graeco-Roman stage scenery influenced the development of Romano-Campanian domestically located wall-painting and in this context it evaluates the legitimacy of using them to reconstruct ancient stage scenery.

The False-Door dissolution and becoming in Roman Wall-Painting is an ongoing investigation into domestically located paintings produced within the context of Italo-Roman culture, from approximately 100 BC to 200 AD. The various research strands contained in the investigation are mapped out in the introduction and examined in greater detail in the material that follows.

When this investigation began The False-Door was a factual reference to the recurring door motifs found in Roman wall-painting. The subtitle dissolution and becoming signified the negation of planar space and the pictorial redefining of domestic walls into virtual realities. As the investigation progressed the title took on a second meaning concerned with the way in which every generation creates perceptual doors or filters through which it views the past. Back to the Present and The Neoclassicising of Pompeii is concerned with this theme, whilst Roman Painting and Film Culture examines the way in which the despotic, orgiastic and idolatrous image of Rome is largely the result of screen cultures, which have transformed it into spectacle for purely entertainment purposes. In contrast, the remaining chapters examine ancient visual sources such as wall-paintings and mosaics that tell a very different story, one in which the deranged licentiousness that underpins much of Rome’s ‘Hollywoodisation’ is nowhere to be seen. Instead, we find sophisticated depictions of a world in which gods are revered and worshiped, family ancestors are commemorated, filial piety and affection is freely given and received, tragedy is confronted, moral fortitude is praised and profound love and passion is openly and sensitively displayed. Roman wall-painting in particular enables us to glimpse a society that bears little resemblance to its modern counterpart in contemporary popular culture.
Original languageEnglish
Title of host publicationThe False-Door
Subtitle of host publicationDissolution and becoming in Roman Wall-Painting
Place of PublicationSouthampton
PublisherSouthampton Solent University
Chapter7
Pages1-20
Number of pages20
Publication statusPublished - 2016

Fingerprint

Wall Paintings
Dissolution
Scenery
Filter
Deity
Spectacle
Entertainment
Filial piety
Tragedy
Affection
Subtitles
Motifs
Legitimacy
Film Culture
Resemblance
Pompeii
Passion
Ancestors
Rome
Popular Culture

Cite this

Owen, M. (2016). The House as Theatre: Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html. In The False-Door: Dissolution and becoming in Roman Wall-Painting (pp. 1-20). Southampton: Southampton Solent University.
Owen, Maurice. / The House as Theatre : Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html. The False-Door: Dissolution and becoming in Roman Wall-Painting. Southampton : Southampton Solent University, 2016. pp. 1-20
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Owen, M 2016, The House as Theatre: Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html. in The False-Door: Dissolution and becoming in Roman Wall-Painting. Southampton Solent University, Southampton, pp. 1-20.

The House as Theatre : Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html. / Owen, Maurice.

The False-Door: Dissolution and becoming in Roman Wall-Painting. Southampton : Southampton Solent University, 2016. p. 1-20.

Research output: Chapter in Book/Report/Published conference proceedingChapter

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Owen M. The House as Theatre: Published in: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html. In The False-Door: Dissolution and becoming in Roman Wall-Painting. Southampton: Southampton Solent University. 2016. p. 1-20