From the length of the track and the need to ride small horses, to the risks, techniques, and training methods involved in racing, Meijer recreates ancient Rome’s favorite pastime in impressive detail.

"Conceived as a companion volume to Porphyrius the Charioteer, this study traces the history and significance of what are generally known as 'circus factions' from the principate of Augustus to the eve of the Crusades, dealing mainly with the late Roman to early Byzantine periods. Other historians have analysed the activities of the factions, particularly the urban riots, in social, political, and religious terms, ignoring their sporting allegiances. Cameron offers a thorough-going criticism of the 'traditional' presupposition 'that racing was a thin façade for social and religious conflict'. In its place he presents what is essentially the history of chariot racing, its organization, participants, and spectator supporters. He shows how circus entertainments developed from privately mounted games to publicly funded entertainments; he examines the role of the hippodrome and theatre within political life; and he studies the changing nature of factions--from sporting rivalry, through 'partisan' gangs and hooliganism, to their incorporation in the games' imperial ceremonial and consequent decline." -- Provided by publisher

Describes the events and games held in the amphitheaters, cicuses, and theaters in ancient Rome.

Dido is the only girl ever to have raced to victory at the Circus Maximus, Rome's greatest sporting arena. Now she and her beloved horse, Porcellus, are in hiding, and Emperor Caligula has put a price on their heads. Can she outwit the emperor and his bounty hunters? And will a shocking family secret stop her in her tracks, or spur her on to make a daring return, helped by a one-eyed mare with a heart as brave as her own? Horses, history, mystery, thrilling entertainment and sensational storytelling race neck and neck through the second pulse-pounding adventure in Annelise Gray's 9 + series set in Ancient Rome. 'I loved this adventure – full of brilliant horses, and a determined heroine following her dreams against all the odds. Looking forward to discovering what's in store for them next' Pippa Funnell, MBE, three-time Equestrian Olympic medalist

"Life, Death, and Entertainment in the Roman Empire gives those who have a general interest in Roman antiquity a starting point informed by the latest developments in scholarship for understanding the extraordinary range of Roman society. Family structure, gender identity, food supply, religion, and entertainment are all crucial to an understanding of the Roman world. As views of Roman history have broadened in recent decades to encompass a wider range of topics, the need has grown for a single volume that can offer a starting point for all these diverse subjects, for readers of all backgrounds."--Page 4 of cover.

This sourcebook presents a wealth of material relating to everyaspect of Roman spectacles, especially gladiatorial combat andchariot racing. Draws on the words of eye-witnesses and participants, as wellas depictions of the games in mosaics and other works of art. Offers snapshots of “a day at the games” and“the life of a gladiator”. Includes numerous illustrations. Covers chariot-races, water pageants, naval battles and wildanimal fights, as well as gladiatorial combat. Combines political, social, religious and archaeologicalperspectives. Facilitates an in-depth understanding of this important featureof ancient life.

The pompa circensis, the procession which preceded the chariot races in the arena, was both a prominent political pageant and a hallowed religious ritual. Traversing a landscape of memory, the procession wove together spaces and institutions, monuments and performers, gods and humans into an image of the city, whose contours shifted as Rome changed. In the late Republic, the parade produced an image of Rome as the senate and the people with their gods - a deeply traditional symbol of the city which was transformed during the empire when an imperial image was built on top of the republican one. In late antiquity, the procession fashioned a multiplicity of Romes: imperial, traditional, and Christian. In this book, Jacob A. Latham explores the webs of symbolic meanings in the play between performance and itinerary, tracing the transformations of the circus procession from the late Republic to late antiquity.

Chariots and Other Wheeled Vehicles in Italy before the Roman Empire presents evidence for transport by wheeled vehicle in Italy before the Roman Imperial period, the beginning of which is often thought to be marked by Augustuss conquest of Egypt in 30 BC. The study begins with a glossary of technical terms and with evidence for roads and the animals that were used in draught. The major part is concerned with the vehicles themselves - two-wheeled chariots and carts and four-wheeled wagons - their construction, the ways in which their draught animals were harnessed and controlled, and the uses to which the equipages were put. A wide range of evidence is drawn upon including figured documents such as architectural terra-cotta, stone reliefs, vase- and wall paintings; bronze and terra-cotta models and the remains of actual vehicles, in a few cases accompanied by their harness teams recovered from tombs, primarily from central and northern Italy of the eighth and seventh centuries BC onwards. The concluding chapter looks at the history of wheeled vehicles in Italy before the Roman Imperial period. It traces local, Italic characteristics and possible foreign influences, and assesses the relative economic and social importance of the different kinds of wheeled vehicles and of other means of land transport - by pack and riding animals. In appendices the vehicles depicted in so-called Situla Art and the 'Celtic chariot' are discussed. Lavishly illustrated with over 170 plates and figures, this book is important for the history of transport, technology and draught.

This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.