drama
The World of Sincerity is a Goddess – Part II – Theatres in Ancient Rome
Salvete Readers and Romanophiles!
Welcome back to The World of Sincerity is a Goddess, the blog series in which we share the research for our latest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.
If you missed the first post on drama and actors in ancient Rome, you can read that by CLICKING HERE.
In part two of this series, we’re going to be looking at the evolution of the structure of the theatre during the Roman period, the places where actors performed, from the dirtiest street corner to the most magnificent structures of the Empire.
We hope you enjoy!
One of the main questions I had when I set out on the research for this latest book was around the physical structure of the Roman theatre. Of course, I knew about ancient Greek theatres, having visited several in my travels over the years. But what about Roman theatres? Did the Romans simply re-use Greek odea? Did the Romans build their own theatres and, if so, how did they differ from those built by the Greeks?
In this blog post, we’re going to be taking a brief look at theatres in ancient Rome and how they differed structurally from those of the Greeks.
The ancient Greeks were, of course, the progenitors of drama and the theatre. When one thinks of ancient theatre, it’s difficult not to think first of an ancient Greek theatre such as the the magnificent, and still-used, example at ancient Epidaurus in the Peloponnese. Or even the beautiful, silent ruins of the great theatre of Argos. It is quite an experience to sit in the ancient seats and not feel some sort of communal awe from centuries past, looking out to the distant mountains or sea beyond the stage where ancient actors would have enacted stories of gods, goddesses, heroes, and the trials and tribulations of everyday people on their journey through this life.
The ancient Greek playwrights – Euripides, Sophocles, Aeschylus, Aristophanes and others – had a way delving deep into the heart of human emotion and experience and making people linger there so that they would, hopefully, come out of it a bit more enlightened. And in a setting such as those ancient theatres, it would be hard not to.
I’ve seen comedic and tragic plays performed while sitting with thousands of others beneath the stars in an ancient theatre. It is an experience I shall never forget.
But even if one is not moved by the words spoken by the actors, it is difficult not to marvel at the genius of the architecture that allows the audience at the top of the seats to hear a whispered word spoken from the centre of the orchestra.
Ancient theatres really are engineering wonders!
Of course, the men of the Tiber knew a good thing when they saw it, and so they eventually adopted drama and theatres while adding their own Roman flair.
But this took some time, and some convincing…
Drama and theatre first came to Rome through contact with the Greek cities to the south and the Etruscans to the north, who had regular contact with the Greeks. It might have been looked upon with suspicion by conservative Romans at first, but eventually, drama would take hold of the Roman people.
In 364 B.C., the Roman Republic was hit by a plague, and in an effort to please the gods and entreat their aid, Rome vowed to hold theatrical festivals in their honour.
To do this, Etruscan actors were brought in and the rest is history. This considered by some to be the start of this new entertainment for the Roman public, an entertainment inspired by the Greek cities of southern Italy.
Plays were originally performed in Greek, but over time Latin playwrights emerged, such as Plautus, Terence, and others. Of course, there were tragedies and comedies in the beginning, but then folk and bawdy plays began to take hold, and the mimes and pantomimes became the most popular among ancient Romans.
To read more about the types of literature in ancient Rome, including drama, CLICK HERE. Suffice it to say that theatrical performances eventually became nearly as popular as chariot racing and gladiatorial combat in ancient Rome.
There may have been theatres dotted all over territories which Rome had conquered early on, but in the city of Rome itself, there were no stone theatres at first, not like in Greek cities where a theatre was a given sign of civilization.
Early dramatic performances in ancient Rome were either performed on the steps of temples or on temporary wooden stages which were constructed in the Circus Maximus or Roman Forum for festivals. After the performances were finished, they were torn down.
Despite the popular appeal of drama in ancient Rome, conservative elements had a deep dislike of the theatre, viewing it as ‘too Greek’ and opposed to Roman values. The theatre – especially the mimes and pantomimes – were viewed as lewd, and this is a view that continued into the Christian era.
But, even among conservative Romans, it was hard to fight popular appeal, and the theatre was indeed growing in popularity.
As we know, the Romans loved their games, or ludi, and by sponsoring these games, Roman magistrates had found a way to win the political favour – and hence, votes! – of the people.
Some examples of games which featured theatrical performances were the Ludi Apollinaris in honour of Apollo (July 6-13) and the Ludi Megalenses in honour of Cybele (April 4-10).
The building of theatres became a way to win the favour of the people. Unlike today when, sadly, theatre is viewed as something more for the elite or well-to-do, the theatre was, in ancient Rome, for people of all classes!
As mentioned, at first theatres in Rome were temporary and constructed of wood, but as time went on, even these wooden ones became more elaborate.
In 58 B.C. Marcus Aemilius Scaurus built a wooden stage for performances, but this one had columns of African marble, as well as statues, glass, gold and fabrics to adorn it. The people loved it!
In 52/51 B.C. Gaius Scribonius Curio even built two moveable semi-circular theatres that could be pushed together to build an amphitheatre so that plays could be performed during the day and gladiatorial games viewed at night!
Eventually the time would come when Rome would receive its first stone theatre, despite conservative opposition, and this was given to the people by none other than Pompey the Great.
From 61-55 B.C., Pompey built a magnificent stone theatre for Rome, and he appears to have used his general’s wiles to get it done in a way that tricked conservative dictates. You see, this was not only a theatre, but also a temple complex dedicated to the goddess Venus herself.
Atop the great theatre of Pompey, resting above and behind the seats of the auditorium, was a magnificent temple of Venus. The argument was, it seems, that the theatre itself was simply the substructure of the temple, the ‘real’ purpose of the construction. The gods were now present in the theatre, and no one would have dared to tear it down!
The theatre of Pompey is now, perhaps sadly, known as the place where Julius Caesar was murdered (the senate was meeting there at the time), but more importantly, it was the beginning of a greater acceptance of theatre in the city of Rome.
Indeed, after the accession of Augustus, one of his supporters, one Lucius Cornelius Balbus, built a second stone theatre in Rome, on the Campus Martius, known today as the Theatre of Balbus.
These permanent Roman theatres, however, were more than places to stage dramatic performances. They were also meeting places that incorporated religious elements. There were temples, and gardens and courtyards where people could stroll between acts, or meet outside of performances. They became part of the fabric of the city of ancient Rome.
But what were the structural differences between ancient Greek and Roman theatres?
It is impossible to deny the simple beauty of ancient Greek theatres, and the brilliance of their acoustic design. It is truly astounding to sit at the top of the seats and hear someone drop a coin or light a match in the middle of the orchestra!
Roman theatres were of course, based on Greek designs. Even the Romans could not deny the acoustic uses!
But whereas Greek theatres, or odea, were normally built into a hillside and had round orchestras where the performance took place, Roman theatres were more often stand-alone structures with semi-circular orchestras where seating was reserved for high-ranking officials, senators, or members of the imperial family. Roman theatres were constructed with solid masonry or vaults that supported the curved or sloping auditorium seats, or cavea. This design sometimes included a colonnaded gallery around the outside that gave easier access to the tiers of seats.
Another innovation given to the theatre by the Romans was the inclusion of a curtain before the stage. Today, it is hard not to think of a curtain in a theatre, and we owe this to the Romans. The difference was that where today the curtain hangs from above, in a Roman theatre, the curtain, or aulaeum as it was known, retracted into a pit in the floor before the stage at the beginning of the performance, and rose out of it at the end.
The most noticeable difference between Greek and Roman theatres, however, was the Roman scaena.
In an ancient Greek theatre, initially, the chorus and actors performed on the round orchestra, but later on, a raised stage, or proskenion, was incorporated. At the back of this stage, they began to build a one or two-story backdrop known as a skene, the ‘scene’ before which the action took place, and behind which the actors could change. The Greek skene did not obstruct the view beyond the theatre, however, but rather just provided the ornate backdrop.
The Roman scaena, however, was much more substantial, for it more or less enclosed theatre completely and provided a full divider between the audience and backstage.
Scaenae frons in Roman theatres had three or five doors flanked by columns and statues in niches. The scaena and its doors could provide the setting for a street scene, houses, palaces etc., and sometimes it was even sectioned off with smaller curtains called siparia as needed.
The Roman scaena also rose to the full height of the theatre itself, either level with the rear seats of the auditorium, or even higher. There was also a wooden roof above the stage of Roman theatres that also acted as a sounding board.
It wasn’t just the actors who were protected from above either, for in some Roman theatres there could also be an awning above the auditorium known as a velarium, to shield the viewers from sun and rain. Roman theatres also had covered porticoes where audience members could go between performances.
The Romans did like their comfort!
Were Roman theatres built across the Empire once Rome had made its own innovations in theatrical architecture?
Well, it seems the Romans did make adjustments to some Greek theatres by adding their own scaenae. However, especially in the Hellenistic east, Greek odea continued to be used, only just for more refined performances of music and poetry recitations rather than for populist mimes and pantomimes.
Romans continued to use the odeon design when called for, but sometimes with the addition of a roof. This type of smaller, enclosed and roofed theatre was known as a theatrum tectum. An example of this is the one built in Pompeii in 79 B.C.
When it comes to theatres and theatrical performance, whatever the genre, the Greeks and Romans did have this in common: theatre was extremely popular with the people and important for the social life of the community, be it in the cultured metropolises of the Empire, or on the distant borders, far from the beating heart of Rome.
The Greeks may have invented theatres, but some might argue that it was the Romans who perfected them.
Thank you for reading.
Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortal chains, and your local public library.
CLICK HERE to buy a copy and get ISBN#s information for the edition of your choice.
The Etrurian Players are coming! Brace yourselves!
The World of Sincerity is a Goddess – Part I – Drama and Actors in Ancient Rome
Salvete Readers and Romanophiles!
At long last, we’re back with another ‘World of’ blog series! We know that most of you really do enjoy these deep dives into the research related to each of our books, so we’re happy to get stuck in!
If the title of this blog wasn’t a giveaway, this new blog series is about the research for our newest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.
In this blog series, we’ll be releasing a new post every two weeks or so on a wide range of topics related to theatre, humour, festivals, healing, playwrights and actors, and more. We do hope you enjoy it!
And now, without further ado, let’s step into The World of Sincerity is a Goddess!
In this first post, we’re going to be taking a brief look at drama and actors in the world of ancient Rome. Both, of course, are central to Sincerity is a Goddess.
Let’s start with a look at the evolution of drama in Rome.
Life is like a play in the theatre: it does not matter how long it lasts, but how well it was played.
Seneca
There are many different forms of literary arts today, just as there were in ancient Rome. Actually, in Rome, no matter the literary form, there was something for everyone. You didn’t even have to be able to read to enjoy literature of a sort.
Literary sources that we know of from the world of ancient Rome include such things as histories, speeches, poems, plays, practical manuals, law books and biographies, treatises and personal letters.
More often than not, authors in ancient Rome were well-educated and even very wealthy, and as a result, the opinions often expressed in literature reflected the values of the upper classes either because the authors were of that class themselves, or because they were patronized by the wealthy.
The main types or classifications of literature were drama, poetry, prose and satire. Though much was written in each of these areas in ancient Rome, in some cases, very little has survived, which makes this a sort of tragedy in and of it self. For the purposes of this post, we’re going to be taking a look at drama.
Drama is central to Sincerity is a Goddess. It was performed in Rome since before the 3rd century B.C., and these early performances took the form of mimes, dances, and farces.
One example of these early forms of drama were the fabula atellana which originated in the town Atella. These were a collection of vulgar farces that contained a lot of low or buffoonish comedy and rude jokes. They were often improvised by the actors who wore masks.
Mimes were very similar and were dramatic performances by men and women that were more licentious in nature. They were highly popular, especially with the lower classes, but they have also been accused of being the cause of the decline of comedy in ancient Rome. By the early sixth century A.D. they were banned or suppressed.
When we think of ancient theatre, however, we cannot help but think first of ancient Greek drama, which was an art form in the lands of the Hellenes long before Romans began producing Latin literature. And like so many other things, the Romans adopted forms of drama from the Greeks as well, especially drama in the form of plays.
Greek ‘New Comedy’ was introduced in Latin in Rome around 240 B.C. by Livius Andonicus and Naevius, and shortly afterward, Greek plays were being adapted by Terence, Caecilus Statius and of course, Plautus, whose early works are the oldest Latin literary works to survive in their entirety. We’ll talk more about the latter later in this blog series. These plays were called fabulae palliatae, or ‘plays in Greek cloaks’.
However, Latin drama had begun to evolve out of this, and soon there emerged the fabulae togatae, or ‘plays in togas’, which were comic plays about Italian life and Italian characters. Sadly, there are no surviving examples of these early Latin comedies.
Surprisingly, by the first century B.C., Roman comic plays pretty much ceased to be written and were replaced by mime which was much more vulgar and thought by many to be of little literary merit.
Other fabulae were introduced by Livius Andronicus, including the fabula crepidata which was a Roman tragedy on a Greek theme, and the fabula praetexta which was a Roman drama based on a historical or legendary theme.
The latter, a form invented by Naevius, gained little popularity in Rome, and by the late Republican era, tragedy in general began to decline. There was a short revival under Augustus, but it did not last, and there are no surviving works of Roman tragedy that come down to us.
It seems the Romans would have leaned more toward Dumb and Dumber than Romeo and Juliet…
One theory about the lack of survival of tragedy in ancient Rome is that under the Empire, it was difficult to choose a safe subject.
But what about actors in ancient Rome, the people who performed before the masses in the streets, on temple steps, or in the great theatres that later adorned cities across the Empire?
Generally, actors were among the lowest on the social scale, the same as gladiators or prostitutes. People enjoyed their performances, and sometimes looked upon them with awe, but they were often kept at a distance for propriety sake. However, some actors were so famous that women, of high and low origin, had affairs with them, not unlike famous gladiators.
This is in contrast somewhat to how it was in ancient Greece where the creation of drama and acting were admired, well-respected.
In the world of ancient Rome, most actors were frowned upon, despite their ability to amuse the people. In truth, the majority of actors were either slaves or freedmen, a very few of which went on to achieve fame, respect, and personal fortune. Most of them likely performed in the lewd mimes favoured by the masses.
That said, a good pantomime slave actor could cost as much as 700,000 sestercii! And it is believed that many pantomime actors may have received training in dance, poetry, and even mythology, the stories of which they sometimes performed.
A famous Roman actor during the reign of Emperor Augustus, known as Pylades, accumulated so much wealth that he was able to produce his own plays. Despite their low social standing, a few actors could indeed be paid very well. In fact, it came to be such a problem that the Emperor Marcus Aurelius put a legal maximum on actor salaries.
There were companies of actors who moved about, usually performing at games, or ludi, in Rome and across the Empire. A company of actors, or a grex, was led by the dominus gregis, the leader and owner of the company. This person was likely a freedman who went on to have some success.
Despite the lack of respect for the actors themselves, they did have an association of theatrical authors and actors in ancient Rome known as the Collegium Scribarum Histrionumque whose patron goddess was Minerva. This was perhaps similar to modern organizations such as Actors Equity Association in the US, or the Association of Canadian Cinema Television and Radio Artists (ACTRA).
Acting in Rome was different than it was in the world of ancient Greece. We have already mentioned the general lack of respect toward the acting profession in Rome compared with Greece where there were festivals with prizes such as the Dionysia and Panathenaea at Athens, and even the Pythian Games at Delphi.
However, in ancient Greece, women were strictly barred from performing on stage. It was a man’s world with men performing the roles of female characters. It was seen as dangerous to have a woman on stage.
This carried over into early drama in the Roman world, influenced as it was by Greek tradition. Over time however, women were permitted to perform on Roman stages. At first, their roles were limited to performing in mimes or pantomimes as part of the chorus or as dancers.
Eventually, female actors began to take on greater roles in Roman drama, some of them becoming so famous that they were permitted to perform in the great theatres of Rome and across the Empire.
Such actresses were known as archimimae, or leading ladies, and some of their names have come down to us.
One incredible example is the actress Licinia Eucharis, a Greek-born slave who was so talented that she went on to earn her freedom and be allowed to perform Greek dramas upon the great stages of Rome before the nobles. And this was during the Roman Republic! Quite a feat! Eucharis amassed great wealth from her acting alone.
Another example of an actress who achieved fame as an archimima, this time during the imperial period, was the actress Fabia Arete. She was a freedwoman who was also a diuma, that is, a leading actress who toured and was invited to perform in different places because of her great skill.
Though there are examples of male and, more rarely, female actors achieving great fame, wealth, and respect in ancient Rome, most actors struggled and were relegated to the makeshift wooden stages that they erected in the streets, or upon temple steps, performing lewd mimes for the people who might have tossed a coin their way.
Being an actor was not an easy life, to be sure.
Perhaps it isn’t so different from today?
Sure, there are actors and actresses who achieve fame and accumulate massive amounts of wealth in the modern age, but the reality is that most performers (actors, dancers, musicians, and writers) struggle to make a living.
One thing does seem apparent when it comes to actors in ancient Rome, and that is that this was a time when women in the profession experienced some ascendency, between the strict rules of the ancient Greek theatre world which banned them, and the Medieval Christian era that seemed intent on demonizing them and, once again, banned from the stage.
Despite its shortcomings, the world of ancient Rome seemed to have been a bright spot, in a sense, in the historical timeline. However, when it came to actors, people admired them for their skill and performance, but perhaps mostly from a distance. It was, after all, a world that was foreign to most.
Thank you for reading.
We hope that you’ve enjoyed this short post on drama and actors in ancient Rome. There is a lot more to learn on this subject, so if you want to read more, Professor Edith Hall at Durham University, a leading expert on the subject, has kindly made her books on ancient theatre freely available to the public. You can check them out HERE.
You can also learn more about other types of Roman literature in our popular post Literature in Ancient Rome by CLICKING HERE.
There are a lot more posts coming in The World of Sincerity is a Goddess, so make sure that you are subscribed to the Eagles and Dragons Publishing Newsletter so that you don’t miss any of them. When you subscribe you get the first book in our #1 best selling Eagles and Dragons series for FREE!
Stay tuned for the next post in this series in which we’ll be looking at theatres in ancient Rome.
Sincerity is a Goddess is now available in ebook, paperback and hardcover from all major online retailers, independent bookstores, brick and mortar chains, and your local public library.
CLICK HERE to buy a copy and get ISBN# information for the edition of your choice.
The Etrurian Players are coming! Brace yourselves!
NEW RELEASE! – Sincerity is a Goddess
Salvete, Readers and Romanophiles!
Today, we’re thrilled to announce the release of our newest novel, Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome.
It has been a little over a year since the research and writing started on this book and it has been, it must be said, an adventure of hilarity and discovery as we have delved into the world of Roman humour, theatre, and all that makes ancient Rome so gritty and beautiful.
True, this is a bit of a departure from our regular tales of battle and blood, but it is no less filled with drama. In fact, drama is what this story is all about, as well as friendship, love, misunderstandings and second chances.
There is a lot going on in the world right now to bring us down, and this book is partially intended to be an antidote to that. Those who have read it thus far have said it is truly one of our best stories so far.
Fans of the Eagles and Dragons series should not despair either, for Sincerity is a Goddess is set in the familiar world of ancient Rome during the year 203 CE, around the time of Septimius Severus’ triumph and the subsequent Games of Apollo. This is same period as Children of Apollo, Book I in the Eagles and Dragons series and, just for fans of the latter, there are several ‘Easter eggs’ dotted throughout this latest book.
We’re so very excited to share this with you, so, without further ado, here is the cover and synopsis for Sincerity is a Goddess: A Dramatic and Romantic Comedy of Ancient Rome…
The Etrurian Players are coming! Brace yourselves!
Mortals perform a never-ending show for the Gods, and Felix Modestus, leader of the renowned Etrurian Players, feels their immortal eyes rest upon him at last.
When a mysterious goddess tells Felix that he must put on a play unlike any seen before across the Roman Empire, he quickly rallies his company to the task and heads to Rome for the Games of Apollo. However, there is a catch: the goddess demands that Felix recruit his two estranged best friends to the production.
Rufio Pagano and Clara Probita once shared Felix’s dream of theatrical greatness, but due to embarrassment and inaction, they left Felix to achieve that dream on his own. When each of them receives a mysterious letter from their old friend pleading for their help, a world of long-buried feelings brings discomfort to their stolid lives.
Will The Etrurian Players be able to give the Gods and the people of Rome a magnificent show in order to save themselves from ruin? Will Rufio and Clara pluck up the courage to face their own fears? If they don’t, Felix stands to lose his company, his friends, and the life he loves so very much!
Only with a little help from the Gods can they hope to achieve the greatness that lies within each of them.
Sincerity is a Goddess is the first book in The Etrurian Players series. It is a heartwarming story of friendship and love that takes you on a bawdy and hilarious journey through the world of ancient Rome.
If you like dramatic and romantic stories about second chances, misunderstandings, and a bit with a dog, then you will love Sincerity is a Goddess!
Read this book today for a theatrical adventure that will have you cringing, laughing, crying, and realizing that there is indeed hope for everyone. Well, almost everyone…
There you have it! Our latest adventure in the world of ancient Rome!
We do hope that you enjoy it, and that it brings you some comic relief in these dark times. It certainly did for us in the research and writing, such that the catharsis of it all was extremely refreshing.
Sincerity is a Goddess is available through all of the usual on-line stores in e-book and paperback HERE.
We are also thrilled to announce that this will also be our first title available in hardcover! The design team has created a beautiful jacketed hardcover book with lots of beautiful design elements to surprise and delight. If you are interested in getting one, you can do so by going to your local independent book store, chain store, or public library with the ISBN# (you can get that at the bottom of the page HERE) and asking them to order you a copy. All Eagles and Dragons Publishing paperback and hardcover titles are available through the Ingram catalogue.
We do hope you enjoy this latest adventure in ancient Rome!
Stay tuned for our upcoming blog series The World of Sincerity is a Goddess, which will be starting very soon!
In the meantime, we appreciate you, and we thank you for reading.
Roaming the Past – Documentaries to Fire Your Passion for History
I don’t know about you, but in this post-holiday time of the year I’m feeling a bit down.
This past week, like many I suspect, I went back to my small square-of-a-cubicle at my day job to get on with ‘regular work’.
That’s always tough, and, despite hitting the weights, yoga, meditation, going to see the new Hobbit movie, and all other manner of uplifting activities, fighting those back-to-work doldrums can make you feel like a lone centurion facing down a Parthian cavalry charge.
But, as ever, there is hope and enlightenment to be found in history.
One thing that I’ve always found is that getting lost in your favourite period of history can wipe out the New Year blues and make you feel like you have some reinforcements at your back.
One way in which I do this is to watch ancient and medieval history documentaries. The combination of knowledge, travel log, archaeological discovery, and ancient innovation always fills a void and reignites my passion for history. And the human stories behind the history never fail to make that Parthian cavalry charge feel smaller and more manageable.
Today I wanted to share with you some of my very favourite documentary series to help temper your own version of cubicle-itis, and get you through the next few weeks as we step into the jaws of Winter (at least in the northern hemisphere).
As with all of these shows, much hangs on the presenter.
Remember, we’re dealing with history here, and most people don’t have very fond memories of their school history classes. Documentaries are dynamic school rooms and it all hangs on the teacher/presenter.
I can’t stand it when a television presenter is overly academic, snooty, blustery, or arrogant. The show should always be about the subject matter, not the host’s ego.
And so, the following shows are on my list not only because of the fascinating topics, but also for the quality of the hosts, their respect and passion for the subject matter.
Michael Wood
For me, Michael Wood has presented some of the most fascinating documentary series since the late 70s. His In Search of series covers everything from the Myths and Heroes, to the Dark Ages, Anglo-Saxon England, and Shakespeare. However, the most fascinating of this series, for me, and for many archaeologists I know, is the six-part In Search of the Trojan War.
Click here for the direct link.
I highly recommend this series. It’s not just about the Trojan War itself, but the Bronze Age in general. You’ll even learn about the Trojans, the Greeks, and the Hittites!
My absolute favourite Michael Wood documentary, however, is his magnificent series entitled In the Footsteps of Alexander the Great.
In this three-part series, we journey with Michael along the entire route taken by Alexander’s army all the way from Macedon and Greece, to Tyre and Egypt, through war zones controlled by the Taliban to the Hindu Kush on into India and back. There are times when Wood was in danger too, but he is intrepid and curious, and you really get a feel for what the journey might have been like, visiting landscapes which few people will ever see in person.
At the time of filming, Wood was unable to visit the battlefield of Gaugamela, but after the second Iraq war, he returned to the area to film a follow-up documentary called Alexander’s Greatest Battle which is also well worth a look.
If you watch any of these videos, and have an interest in Alexander the Great, In the Footsteps of Alexander the Great is the one I recommend you watch. Here is the long trailer for it:
Click here for the direct link.
Bettany Hughes
Next up we have another British historian and broadcaster whose list of documentary credits is just as astounding as Michael Wood’s, perhaps even more varied.
Bettany Hughes has done documentaries on ancient Egypt, Greece, and Rome, and she’s looked at Helen of Troy and Nefertiti, Atlantis, ancient engineering, Democracy, and sex in the ancient world.
She has that passion that is so essential to teaching history, and she doesn’t sugar-coat the past. In fact, she gets down to the nitty-gritty, dirty details, and can tear down with style the romantic images that cloud our view of the past; her documentary Athens: The Dawn of Democracy is one such show.
Bettany seems to have a truly adventurous spirit too, which is great. Just recently she was tweeting out from modern Georgia and the land of Medea and the Golden Fleece where she was shooting for a new show.
My favourite documentary series that I have seen thus far from Bettany is The Spartans. This three-part series provides a fantastic look at the nature of Spartan society, its past glories, and its downfall. You’ll definitely want to see this one!
Click here for the direct link.
Adam Hart Davis
Our next presenter is probably the jolliest character of the group. He is a scientist, a historian, a broadcaster, and much much more. If you look at the range of his work, you’ll see that he covers a wide range of topics besides history.
The reason I’ve put Adam Hard Davis on this list is because his BBC series, What the Romans did for Us, is the most interesting documentary series I’ve ever seen that looks at the practical side of the Roman world.
In this series, Adam shows us numerous inventions and innovations to come out of the Empire. And the cool thing is that these are all things that we still use in some way, shape or form today.
Did you know that a Roman invented the hamburger? Or that the Romans had invented a fire engine? There are all sorts of wonderful surprises in this fantastic series, hosted by a man who loves what he does and has a child-like curiosity and enthusiasm that is truly contagious. You’ve got to watch this!
Click here for the direct link.
John Romer
Our next documentarian is British Egyptologist, historian, and author, John Romer.
He has done several shows on the ancient world, but the one that introduced me to him remains, for me, his very best.
Watching Seven Wonders of the Ancient World is a wonder-full journey to these magnificent sites that have captivated the human imagination for ages.
Romer does not give us the usual academic tour of these ancient tourist attractions. Rather he gets up close and personal with the ruins, the landscape, and the people who lived in those places. He mesmerizes the viewer with his poetic admiration of everything about these places.
In this series, Romer looks at the hidden corners surrounding the Seven Wonders. He’ll admire the grand design and architecture, but also the fine details of a hidden relief that decorates a forgotten piece of history.
Some people might think of Romer as melodramatic, but I think he is more passionate than anything. He loves ancient culture, history, and the people who created these timeless monuments.
https://www.youtube.com/watch?v=oQmIzJwjgEI
Click here for the direct link.
Michael Scott
This next presenter is relatively new to the history documentary scene compared with those I have mentioned above, but when I first saw one of his shows, I knew he would be an ancient history documentarian who would get a whole new generation of students interested in history.
Michael Scott’s style is cool and interested. He is very knowledgeable, and has great passion for the subject matter he is talking about. Definitely not your typical, dry academic!
His most recent series is called Roman Britain from the Air, which began airing last month. I haven’t seen that yet, but I’m looking forward to checking it out.
Most of his documentaries are about ancient Greece, however, and the one that I wanted to mention here is his three-part series Ancient Greece: The Greatest Show on Earth.
This show was a bit of an eye opener for me. Not having studied ancient Greek theatre, it came as something of a surprise that ancient Greek drama was so closely linked to the birth of Democracy, and that it played such an essential, pivotal role in ancient Greek society.
If you want to learn a lot about ancient Greece, in a fascinating and entertaining way, you should definitely watch Michael Scott’s series. After watching this, you’ll want to get yourself on a plane to Greece as soon as you can!
http://youtu.be/xf9cDKqwhQw?list=PLaGnq8H7GaVLH-dDaUlKHpy-JcMqwmI5F
Click here for the direct link.
Richard Harris
Wait! Richard Harris, the actor? Yes.
My last entry here is not an academic or historian, but he sure was an entertainer, and sometimes larger than life.
One of my primary refuges from the madness of the world is the Arthurian realm, and so I could not offer up this list of blues-chasing documentaries without mentioning my favourite Arthurian documentary.
Many of you may have seen Richard Harris in the first couple of Harry Potter movies as Professor Albus Dumbledore. Personally, I liked him as the Emperor Marcus Aurelius in the movie Gladiator, and King Richard the Lionheart in the movie Robin and Marian. Actually, Richard Harris rarely ever disappointed in any of his film roles over the years of his magnificent career, including as King Arthur in the film version of the musical Camelot.
The latter was the reason he was chosen to host this single documentary on Britain’s most famous hero.
Arthur: King of the Britons came out not long before Richard Harris’ death in 2002. This is a wonderful documentary of this myth, history and archaeological discoveries surrounding the person of Arthur.
Rather than seeking to tear down or dismiss the theories about an historical Arthur, this documentary looks at the real possibilities and evidence for the existence of Arthur. This is not about late medieval knights in shining armour.
This documentary is about the search for the person who may have been the historical Arthur, the Romano-British warlord who held off the Saxons for a brief time in the early sixth century A.D.
What I love about this documentary are the visits to Tintagel Castle, and South Cadbury Castle, as well as the digital recreations of these and other sites. It gives a magnificent perspective of them, and the latest research at the time.
If you missed my post on South Cadbury Castle, click HERE to check it out.
As I mentioned in that post, I had been working as an archaeologist on the dig there, which happened to be during the time of the filming of Arthur: King of the Britons!
Unfortunately (well, sort of unfortunately), I was in Greece when the film crew and Richard Harris showed up at the site. So, I missed meeting the great actor himself – and my dig mates made sure to tell me! However, you can see my dig director, Richard Tabor, on the video, which is pretty cool.
Richard Harris is legend, and so what better actor than one who has played Arthur, to present this documentary. He is cool, captivating, and powerful as he tries to unravel the mythical Arthur, and bring us face-to-face with the Arthur of history.
Click here for the direct link.