Mechane: Difference between revisions
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A '''mêchanê''' (''μηχανῆ'') was a [[Crane (machine)|crane]] used in [[Ancient Greek Theater|Greek theater]], especially in the fifth and fourth centuries BC. Made of wooden beams and pulley systems, the device was used to lift an actor into the air, usually representing flight. This stage machine was particularly used to bring gods onto the stage from above<ref name="Greek mêchanê sources">[[Plato]], ''Crat''. 425d; ''Clit''. 407a</ref>, hence the Latin term [[Deus ex machina|''deus ex machina'']] ("god from the machine").<ref name="Entrance of gods">The use of the ''mêchanê'' for introducing | A '''mêchanê''' (''μηχανῆ'') was a [[Crane (machine)|crane]] used in [[Ancient Greek Theater|Greek theater]], especially in the fifth and fourth centuries BC. Made of wooden beams and pulley systems, the device was used to lift an actor into the air, usually representing flight. This stage machine was particularly used to bring gods onto the stage from above<ref name="Greek mêchanê sources">[[Plato]], ''Crat''. 425d; ''Clit''. 407a</ref>, hence the Latin term [[Deus ex machina|''deus ex machina'']] ("god from the machine").<ref name="Entrance of gods">The use of the ''mêchanê'' for introducing a ''deus ex machina'' onto the stage probably didn't begin before the 4th century BC: "Gods who intervene in fifth century tragedies probably appeared through a trap-door on the roof of the ''skene'' to address mortals from a higher level." (Roger Dunkle: [http://depthome.brooklyn.cuny.edu/classics/dunkle/tragedy/index.htm ''Introduction to Greek Tragedy''])</ref> [[Euripides]]' use of the ''mêchanê'' in ''[[Medea (play)|Medea]]'' ([[431 BC]]) is a notable use of the machine for a non-divine character, providing a means of escape for [[Medea]] from [[Corinth]] after she murders her children. The ''mêchanê'' was also often used by [[Aeschylus]]. | ||
In [[Christian]] [[Christian liturgy|liturgy]] the ''mêchanê'' has also been identified with the [[Christian cross|cross]]. [[Ignatius of Antioch|Ignatius]] calls the cross the "theatre machine" of [[Jesus]] [[Christ]].<ref name="Ignatius source">Ignatius of Antioch, ''Letter to the Ephesians'' IX, I: ''ἀναφερόμενοι εἰς τὰ ὕψη διὰ τῆς μηχανῆς Ἰησοῦ Χριστοῦ, ὅς ἐστιν σταυρός''.</ref> | In [[Christian]] [[Christian liturgy|liturgy]] the ''mêchanê'' has also been identified with the [[Christian cross|cross]]. [[Ignatius of Antioch|Ignatius]] calls the cross the "theatre machine" of [[Jesus]] [[Christ]].<ref name="Ignatius source">Ignatius of Antioch, ''Letter to the Ephesians'' IX, I: ''ἀναφερόμενοι εἰς τὰ ὕψη διὰ τῆς μηχανῆς Ἰησοῦ Χριστοῦ, ὅς ἐστιν σταυρός''.</ref> | ||
Revision as of 16:25, 3 July 2007
A mêchanê (μηχανῆ) was a crane used in Greek theater, especially in the fifth and fourth centuries BC. Made of wooden beams and pulley systems, the device was used to lift an actor into the air, usually representing flight. This stage machine was particularly used to bring gods onto the stage from above[1], hence the Latin term deus ex machina ("god from the machine").[2] Euripides' use of the mêchanê in Medea (431 BC) is a notable use of the machine for a non-divine character, providing a means of escape for Medea from Corinth after she murders her children. The mêchanê was also often used by Aeschylus.
In Christian liturgy the mêchanê has also been identified with the cross. Ignatius calls the cross the "theatre machine" of Jesus Christ.[3]
Stage machines were also used in ancient Rome, e.g. during the sometimes highly dramatic performances at funerals. For C. Iulius Caesar's funeral service Appian reports a mêchanê that was used to present a blood-stained wax effigy of the deceased dictator to the funeral crowd. The mêchanê was used to turn the body in all directions.[4] Geoffrey Sumi proposes that the use of the mêchanê "hinted at Caesar's divinity".[5] This is highly unlikely because Appian doesn't describe the mêchanê as a genuine deus-ex-machina device. Furthermore Caesar's apotheosis wasn't legally conducted until 42 BC, and Caesar had only been worshipped inofficially as divus during his lifetime. First and foremost Marcus Antonius attempted to arouse the masses as a means to strengthen Caesar's esteem as well as his own political power.[6]
References
- ↑ Plato, Crat. 425d; Clit. 407a
- ↑ The use of the mêchanê for introducing a deus ex machina onto the stage probably didn't begin before the 4th century BC: "Gods who intervene in fifth century tragedies probably appeared through a trap-door on the roof of the skene to address mortals from a higher level." (Roger Dunkle: Introduction to Greek Tragedy)
- ↑ Ignatius of Antioch, Letter to the Ephesians IX, I: ἀναφερόμενοι εἰς τὰ ὕψη διὰ τῆς μηχανῆς Ἰησοῦ Χριστοῦ, ὅς ἐστιν σταυρός.
- ↑ Appian, Civil Wars 2.147 τὸ μὲν γὰρ σῶμα, ὡς ὕπτιον ἐπὶ λέχους, οὐχ ἑωρᾶτο. τὸ δὲ ἀνδρείκελον ἐκ μηχανῆς ἐπεστρέφετο πάντῃ. Appian's mêchanê probably described the device that Suetonius rendered as the tropaeum, to which Caesar's blood-stained robe and possibly also the effigy (simulacrum) were affixed. (Divus Iulius 84; here translated as "pillar".)
- ↑ Geoffrey S. Sumi, Ceremony and Power. Performing Politics in Rome between Republic and Empire, Ann Arbor 2005, pp. 107–109, chapter: "Caesar ex machina"), ISBN 978-0-472-11517-4
- ↑ The fact that Caesar's resurrectio as god happened later during the funeral as he was cremated, and that it spawned the early Caesarian cult by the Pseudo-Marius, can't explain Antonius' intentions for using a mêchanê during the funeral.