Spectacle
A spectacle is a public event or show that is exciting to watch, such as a parade. Fascist were the first to do this and are arguably the best at it. When fascists want to protest or otherwise make a statement, fascists often do a March. A good example of a successful march would be Mussolini's famous March on Rome, modelled on Caesar's March on Rome, and like Caesar, Mussolini was made to hold power afterward. Fascists were the first to hold public protests in this way, and it is a hallmark of fascism.
The ancient Romans
The Romans made spectacle into an artform. Spectacle, from the Latin word spectaculum (Spectacular!), refers generally to a show, a sight, or that which is exposed to public view. The meaning of spectacle can also be extended to include a stage play or even a place at the theatre.
- The event must draw an audience
- The event must be out of the ordinary
- It must be extravagant
- The event and/or the place must convey meaning for the audience
- It must be entertaining!
Some examples of Roman spectacles are Amphitheatre games, wild animal hunts, executions, gladiatorial games, Circus events, chariot races, naval battle re-enactments, Theatrical performances, religious processions, and Triumphal processions. The last one being the largest of all.
Footnotes
- On animal hunts: Livy. Roman History. 39.22; On executions at mid-day: Tertullian. Apology. 15.4-6; On gladiatorial games: Livy. Roman History 9.40
- Procopius, History of the Wars, I, xxiv, translated by H.B. Dewing (New York: Macmillan, 1914), pp. 219-230. On naumachia: Martial. Spectacles. 24;
- Cassius Dio. Roman History. 67.4
- Tacitus. Annales. 14.20-21.
- Cassius Dio, Roman History 78
- Pliny the Younger. Letter to Socius Senecio. Book 1.13
- Pliny the Elder. Natural History. 34-35, Vitruvius. On Architecture. 5.1.1-5.3.5, Cicero. Letters to Atticus. 1.4
- Jesper Carlsen, "Exemplary Deaths in the Arena: Gladiatorial Fights and the Execution of Criminals": Contextualizing Early Christian Martyrdom, eds. Jakob Engberg, Uffe Holmsgaard Eriksen, Anders Klostergaard Petersen. Peter Lang: Frankfurt. 2011. pg 79