introduction to tragedy history of tragedy. origins of tragedy tragedy developed in athens ...
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Introduction to TragedyIntroduction to TragedyHistory of TragedyHistory of Tragedy
Origins of TragedyOrigins of Tragedy
Tragedy developed in Tragedy developed in Athens Athens
Gradually the Gradually the popularity of popularity of Athenian drama led Athenian drama led to the building of to the building of theaters throughout theaters throughout the Greek and the Greek and Roman worldRoman world
Origins of TragedyOrigins of Tragedy
Close to 900 Close to 900 tragedies were tragedies were presented in Athens presented in Athens during the 5during the 5thth century century B.C.E.B.C.E.
Aeschylus, Sophocles, Aeschylus, Sophocles, and Euripides wrote and Euripides wrote about 220 tragediesabout 220 tragedies Only 32 Greek Only 32 Greek
tragedies have tragedies have survivedsurvived
AeschylusAeschylus
Seven surviving Seven surviving playsplays
Wrote Wrote “Agamemnon”“Agamemnon”
EuripidesEuripides
19 surviving plays19 surviving plays One is not a One is not a
tragedy; it is a tragedy; it is a “satyr” play:“satyr” play: Comedy performed Comedy performed
as comic relief after as comic relief after a classical Greek a classical Greek tragic trilogytragic trilogy
SophoclesSophocles
Seven surviving playsSeven surviving plays Most influential of the Most influential of the
three great three great tragedianstragedians
Influenced Aristotle’s Influenced Aristotle’s understanding of the understanding of the genregenre
Wrote “Oedipus Rex”Wrote “Oedipus Rex”
Definition of TragedyDefinition of Tragedy
A tragedy is a drama, A tragedy is a drama, which recounts an which recounts an important and causally important and causally related series of events related series of events in the life of a person of in the life of a person of significance, such significance, such events culminating in events culminating in an unhappy catastrophe an unhappy catastrophe (human suffering, often (human suffering, often the decline and death of the decline and death of the hero), the whole the hero), the whole thing treated with great thing treated with great dignity or seriousnessdignity or seriousness
Etymological MeaningEtymological Meaning
Etymology - study of word originsEtymology - study of word origins ““Tragoidia” - ancient Greek word Tragoidia” - ancient Greek word
for “tragedy”for “tragedy” Originally meant “Goat Song” Originally meant “Goat Song”
(referred to the song at the (referred to the song at the sacrifice of a goatsacrifice of a goat
Evolution of Early Greek DramaEvolution of Early Greek Drama
Moved from an unstructured to a more Moved from an unstructured to a more structured form through the agesstructured form through the ages
Four stagesFour stages
Stage One: The FestivalStage One: The Festival Two festivals honouring the god of fertility and wine (Dionysus)Two festivals honouring the god of fertility and wine (Dionysus) Began with parades, priests chanting, wine, drinking, dancing, Began with parades, priests chanting, wine, drinking, dancing,
etc.etc. Song contests took place at festivals celebrating Dionysus and Song contests took place at festivals celebrating Dionysus and
the harvestthe harvest Choruses sang the Choruses sang the dithyrambdithyramb, a song in honour of Dionysus, , a song in honour of Dionysus,
and the winning poet was awarded a bull or a goat, animals and the winning poet was awarded a bull or a goat, animals associated with Dionysusassociated with Dionysus
The Dithyramb and SacrificeThe Dithyramb and Sacrifice The awarded animal was The awarded animal was
sacrificedsacrificed Sacrifice was viewed as a deed that Sacrifice was viewed as a deed that
is both necessary and awful; is both necessary and awful; therefore, those who sacrificed therefore, those who sacrificed wore masks to conceal identity (just wore masks to conceal identity (just like executioners used to do!)like executioners used to do!)
Links to TragedyLinks to Tragedy
Sacrificers also voiced their guilt in a song Sacrificers also voiced their guilt in a song of lamentation for the goatof lamentation for the goat
Links to the elements of tragedy are clear:Links to the elements of tragedy are clear: Violent bloodshedViolent bloodshed GuiltGuilt Concealed identity (through masks)Concealed identity (through masks) SongSong
Stage Two: The DithyrambStage Two: The Dithyramb
More formal theaterMore formal theater Eventually led to Eventually led to
the evolution of the the evolution of the choruschorus
Introduced Introduced audience as a part audience as a part of the worshipof the worship
A combination of A combination of dance and song dance and song (50+ men involved)(50+ men involved)
Stage Three: Plays about Stage Three: Plays about Greek GodsGreek Gods
Not totally tragicNot totally tragic Combination of the tragic and the comicCombination of the tragic and the comic
Based on the myths and legends of Based on the myths and legends of the timethe time
Stage Four: TragedyStage Four: Tragedy
““Tragos” – goatTragos” – goat ““Aeidein” – to singAeidein” – to sing Very structured, and focused Very structured, and focused
exclusively on the tragicexclusively on the tragic
What did a Greek theatre What did a Greek theatre look like?look like?
The Greek Theatre: The Greek Theatre: ConstructionConstruction
Semicircular, open air Semicircular, open air amphitheateramphitheater
Seated approx. 20 Seated approx. 20 000000
Built into hillside - Built into hillside - tiers or seats cut into tiers or seats cut into hill were later hill were later replaced with stonereplaced with stone
Crane used to enable Crane used to enable actors playing gods to actors playing gods to be lowered from the be lowered from the “heavens” or raised “heavens” or raised from “the earth”from “the earth”
The Greek Theatre: The Greek Theatre: ConstructionConstruction
Performed in broad daylightPerformed in broad daylight No artificial light and a minimum of propsNo artificial light and a minimum of props No scenery, males acted, No scenery, males acted, only three actorsonly three actors
(masks)(masks) Violence took place off stage (chorus Violence took place off stage (chorus
informed audience)informed audience)
The OrchestraThe Orchestra Round or Round or
semi‑circular semi‑circular paved area paved area where the where the chorus sings chorus sings and dancesand dances
The word itself The word itself means “place means “place for dancing”for dancing”
In the center In the center of the of the orchestra was orchestra was a sacrificial a sacrificial altar altar
TheatronTheatron
“ “Viewing Viewing area” area” from from which the which the audience audience views the views the drama drama
SkeneSkene
Stage buildingStage building Wooden Wooden
construction with a construction with a flat roof in front of flat roof in front of which actors which actors performed performed
Usually represented Usually represented a palace a palace
Also used as a Also used as a dressing room and dressing room and storage area for storage area for props props
ParodosParodos Gangway leading into Gangway leading into
the orchestra over the orchestra over which chorus and which chorus and actors made their actors made their entrancesentrances Two parodoi, one on Two parodoi, one on
each side of the each side of the orchestra orchestra
ParodosParodos is also the is also the name of the songname of the song chanted by the chorus chanted by the chorus as they entered the as they entered the orchestra at the orchestra at the beginning of the play beginning of the play
Theatre of DionysusTheatre of Dionysus
Structure of Greek TragedyStructure of Greek Tragedy
a. a. ProloguePrologue: Spoken by one or two : Spoken by one or two characters before the chorus appears; characters before the chorus appears; usually gives the mythological usually gives the mythological background necessary for understanding background necessary for understanding the play.the play.
b. b. ParodosParodos: Song sung by the chorus as it : Song sung by the chorus as it first enters the orchestra and dances.first enters the orchestra and dances.
c. c. First EpisodeFirst Episode: First of many "episodes", : First of many "episodes", when the characters and chorus talk.when the characters and chorus talk.
Structure of Greek TragedyStructure of Greek Tragedy
d. d. First StasimonFirst Stasimon: At the end of each : At the end of each episode, the other characters usually episode, the other characters usually leave the stage and the chorus dances leave the stage and the chorus dances and sings a and sings a choral odechoral ode (stasimon). The (stasimon). The ode usually reflects on the things said ode usually reflects on the things said and done in the episodes, and puts it and done in the episodes, and puts it into some kind of larger mythological into some kind of larger mythological framework.framework. For the rest of the play, there is alternation For the rest of the play, there is alternation
between episodes and stasimabetween episodes and stasima
Structure of Greek TragedyStructure of Greek Tragedy
e. e. ExodosExodos: At the end of the play, the : At the end of the play, the chorus exits singing a processional chorus exits singing a processional song which usually offers words of song which usually offers words of wisdom related to the actions and wisdom related to the actions and outcome of the play.outcome of the play.
The Greek TheatreThe Greek Theatre Actors and chorus Actors and chorus
separatedseparated Conflict is conveyed in Conflict is conveyed in
dialoguedialogue
Greek TheatreGreek Theatre
Audience becomes involved with plight Audience becomes involved with plight of character, both emotionally and of character, both emotionally and physicallyphysically
Actors played many parts, using Actors played many parts, using masksmasks to change characters (gender, state, to change characters (gender, state, emotion, etc.)emotion, etc.) Enabled actors to play multiple rolesEnabled actors to play multiple roles
ChorusChorus
Chorus stood between Chorus stood between audience and actors:audience and actors: Presented initial problem of the Presented initial problem of the
charactercharacter Reacts to words and actions of Reacts to words and actions of
the actors on the stagethe actors on the stage Their reaction would essentially Their reaction would essentially
show the actors’ feelingsshow the actors’ feelings
Elements of Classical Elements of Classical (Greek) Tragedy(Greek) Tragedy
Greek tragedy and Greek tragedy and the notion of the the notion of the Tragic HeroTragic Hero were were defined by Aristotledefined by Aristotle Aristotle wrote his Aristotle wrote his
PoeticsPoetics about 50 about 50 years after the years after the death of Sophoclesdeath of Sophocles
Classical TragedyClassical Tragedy
Emphasized the Emphasized the significance of a choice significance of a choice made by the made by the protagonist(s), but which protagonist(s), but which was dictated by his was dictated by his (harmartia)(harmartia) and the gods and the gods
They choose incorrectly They choose incorrectly and they fall (usually die)and they fall (usually die)
Aristotle’s Definition of Aristotle’s Definition of TragedyTragedy
“ “An An imitation of actionimitation of action that is that is serious, serious, completecomplete, and of a certain , and of a certain magnitudemagnitude; ; in language embellished with each kind of in language embellished with each kind of artistic ornament; ... in the form of aartistic ornament; ... in the form of a dramadrama, not of a narrative; through , not of a narrative; through pity pity and fearand fear, effecting the proper , effecting the proper purgation purgation of these emotionsof these emotions.”.”
Analysis of DefinitionAnalysis of Definition
imitation of actionimitation of action imitation of real lifeimitation of real life
seriousserious elevated subject, elevated subject,
royal/aristocratic, royal/aristocratic, important, worth important, worth consideringconsidering
completecomplete beginning, middle, beginning, middle,
endend a logical wholea logical whole
magnitudemagnitude importance of eventimportance of event a great size or effecta great size or effect not minor!not minor!
Analysis continuedAnalysis continued
dramadrama acted, not toldacted, not told action was a process from beginning to endaction was a process from beginning to end in the conclusion, there is a recognition of truthin the conclusion, there is a recognition of truth
Pity and FearPity and Fear
Analysis continuedAnalysis continued
purgationpurgation idea of idea of catharsiscatharsis produced in the produced in the
audienceaudience release of pity and fear in the release of pity and fear in the
audienceaudience
Middle Ages Tragedy (1100-Middle Ages Tragedy (1100-1400)1400)
Rise of ChristianityRise of Christianity Christians forbidden to Christians forbidden to
attend theatre due to attend theatre due to moral status of those who moral status of those who performed and content of performed and content of playsplays Actors lived like gypsies (i.e. Actors lived like gypsies (i.e.
poor, nomadic, outcasts)poor, nomadic, outcasts) Developed “acceptable” Developed “acceptable”
drama (Bible stories – drama (Bible stories – nativity, resurrection, nativity, resurrection, etc.)etc.)
Middle Ages Tragedy (1100-Middle Ages Tragedy (1100-1400)1400)
Began to perform in church; due to Began to perform in church; due to overcrowding, moved outdoorsovercrowding, moved outdoors
Plays a way of telling Christian Plays a way of telling Christian Liturgy to illiterate populationLiturgy to illiterate population Mass conducted in Latin (most people Mass conducted in Latin (most people
did not understand Latin)did not understand Latin)
Middle Ages TragedyMiddle Ages Tragedy
Became more elaborate Became more elaborate (props, machinery, (props, machinery, cranes, trap doors, special cranes, trap doors, special effects)effects) Hell smoke, floods, fires, Hell smoke, floods, fires,
earthquakes, etc.earthquakes, etc. Plays had a moral/lessonPlays had a moral/lesson ““Tragedy” referred to a Tragedy” referred to a
narrative which recounted narrative which recounted how a person of high rank how a person of high rank fell to a low station in life, fell to a low station in life, because of misfortune or because of misfortune or their own errortheir own error
Middle Ages TragedyMiddle Ages Tragedy
Relation to Classical Relation to Classical TragedyTragedy
Very similarVery similar Stressed morality of play Stressed morality of play
(but, classical had no (but, classical had no religious overtones)religious overtones)
Most playwrights ignorant Most playwrights ignorant of Greek tragedy and of Greek tragedy and AristotleAristotle
The Renaissance (late 1500s)The Renaissance (late 1500s)Renaissance SocietyRenaissance Society ““Renaissance” means Renaissance” means
rebirthrebirth Occurred in both Occurred in both
England and ItalyEngland and Italy Upsurge in art, music, Upsurge in art, music,
science, literaturescience, literature ““Renaissance man” Renaissance man”
was one who was was one who was knowledgeable in all knowledgeable in all areasareas
Middle class risingMiddle class rising Stability in societyStability in society
Origin of Renaissance Origin of Renaissance TragedyTragedy
Italian RenaissanceItalian Renaissance Seneca (1Seneca (1stst century Latin century Latin
philosopher)philosopher) Introduced revenge, Introduced revenge,
retribution, murder, retribution, murder, assassination, violence, assassination, violence, mutilation mutilation on stageon stage
Soliloquies, asides, 5 Soliloquies, asides, 5 episodes (acts) also episodes (acts) also derived from Senecaderived from Seneca
Defining Renaissance Defining Renaissance TragedyTragedy
Hero has great worth and Hero has great worth and talent, but recognizes too late talent, but recognizes too late his errorhis error This self-knowledge comes too This self-knowledge comes too
late and is therefore useless in late and is therefore useless in averting disasteraverting disaster
Audience feels pity and loss Audience feels pity and loss for the hero despite hero’s for the hero despite hero’s actionsactions
Audience feels some relief Audience feels some relief (catharsis) at death that the (catharsis) at death that the hero no longer suffershero no longer suffers
Some form of peace and Some form of peace and stability in society is possiblestability in society is possible
Renaissance TragedyRenaissance Tragedy
Stories are no longer only Stories are no longer only religious or mythical in religious or mythical in originorigin
Shakespeare:Shakespeare: Plays mixed poetry and Plays mixed poetry and
proseprose All social classes All social classes
representedrepresented Emphasized man’s Emphasized man’s
hamartia as main cause hamartia as main cause of his demiseof his demise
Renaissance TragedyRenaissance Tragedy
Shakespeare:Shakespeare: Hero is identifiable, high social statusHero is identifiable, high social status Initially complex, but neither good nor evilInitially complex, but neither good nor evil Internal more than external influences Internal more than external influences
contribute to fallcontribute to fall Almost all tragic heroes dieAlmost all tragic heroes die His heroes realize their mistake just His heroes realize their mistake just
before they diebefore they die
1600s Tragedy 1600s Tragedy (not much happened (not much happened here)here)
11stst half much like half much like Renaissance tragedyRenaissance tragedy
22ndnd half half characterized by characterized by “heroic” drama“heroic” drama More formulated More formulated
rhyming verserhyming verse Rise of the middle Rise of the middle
class to become class to become suitable heroessuitable heroes
Influenced by Influenced by Aristotle’s Aristotle’s PoeticsPoetics
1700s Tragedy1700s Tragedy
Middle class hero Middle class hero gains popularitygains popularity No longer No longer
necessarily about necessarily about wealth and powerwealth and power
The hero does not The hero does not lose power or lose power or wealth because he wealth because he has little of bothhas little of both
Plays are sad Plays are sad stories about a stories about a common man and common man and his small lifehis small life
1700s Tragedy1700s Tragedy
Tragedy significant because hero is one of Tragedy significant because hero is one of us and suffers as we all do; audience us and suffers as we all do; audience identifies with heroidentifies with hero
Importance of piece previously defined by Importance of piece previously defined by power/positionpower/position, now , now spirit/intellectspirit/intellect
Why? Why? Theatre caters to audience; theatre became Theatre caters to audience; theatre became
more for the common man than the nobilitymore for the common man than the nobility People may have difficulty feeling sorry for rich People may have difficulty feeling sorry for rich
peoplepeople
1800s Tragedy1800s Tragedy
Similar to 1700sSimilar to 1700s Rise in “domestic Rise in “domestic
tragedy”tragedy” Henrik Ibsen – Henrik Ibsen –
main figuremain figure Wrote about middle Wrote about middle
class tragedy that class tragedy that grew out of social grew out of social problems poverty problems poverty and alcoholismand alcoholism
Modern Tragedy: 1900sModern Tragedy: 1900sSocietySociety World wars and A-World wars and A-
bomb have bomb have profound effect on profound effect on alienation of manalienation of man
Many become Many become disillusioned about disillusioned about formal religionformal religion
Modern Tragedy: 1900sModern Tragedy: 1900s
Feeling of man being on his own without a Feeling of man being on his own without a supporting society or God led to supporting society or God led to existentialexistential movement (Sartre, Camus):movement (Sartre, Camus): man must make his own meaning out of man must make his own meaning out of
his existence after acknowledging the his existence after acknowledging the absurdity of lifeabsurdity of life
life has no inherent meaninglife has no inherent meaning there is no Godthere is no God man is free, but man is free, but isolatedisolated
Modern Tragedy: 1900sModern Tragedy: 1900sChanges in Theatre, Changes in Theatre,
Perception, LiteraturePerception, Literature Playwrights began Playwrights began
dealing with more dealing with more controversial issues – controversial issues – obscenity, sexuality, obscenity, sexuality, blasphemyblasphemy
Deals with how man Deals with how man is a victim of societyis a victim of society
Actor no longer Actor no longer dominates stage, but dominates stage, but words become words become centralcentral
Modern Tragedy: 1900sModern Tragedy: 1900s
Language realistic and Language realistic and conversational; not poeticconversational; not poetic
Protagonist faces choices – all Protagonist faces choices – all equally unacceptable or distasteful equally unacceptable or distasteful and all potentially leading to and all potentially leading to disastrous consequencesdisastrous consequences
Changes in lightingChanges in lighting Realism taken to extremes with Realism taken to extremes with
surrealismsurrealism
SurrealismSurrealism
Fantastic imagery or effects that Fantastic imagery or effects that don’t seem to be very applicable to don’t seem to be very applicable to make something stand out that much make something stand out that much moremore E.g. A blood red rose in the middle of a E.g. A blood red rose in the middle of a
black and white garbage dump would be black and white garbage dump would be surreal as two things are juxtaposed to surreal as two things are juxtaposed to create extreme difference create extreme difference
Modern Tragedy: 1900sModern Tragedy: 1900s
Modern TheatreModern Theatre Protagonist is often a victimProtagonist is often a victim Society is to be blamed, not Society is to be blamed, not
protagonistprotagonist Not all protagonists die, some Not all protagonists die, some
just break downjust break down Some die without attaining Some die without attaining
truth or growth (self-knowledge)truth or growth (self-knowledge) Audience feels pain through Audience feels pain through
association and identification association and identification with characters and situationswith characters and situations
Similarity between classical Similarity between classical and modernand modern
SimilaritySimilarity They lead to a learning They lead to a learning
process of growth, process of growth, recognition, and recognition, and understanding understanding by the by the audienceaudience, not , not necessarily by the necessarily by the characterscharacters
Differences between classical Differences between classical and modernand modern
DifferenceDifference
FactorFactor ClassicalClassical ModernModern
Hero’s classHero’s class Nobility/Nobility/upperupper
AnyAny
ConflictConflict Against Against gods/fategods/fate
Against Against societysociety
DownfallDownfall God-imposedGod-imposed Self-imposedSelf-imposed
LanguageLanguage PoeticPoetic ProseProse
SocietySociety Ordered, Ordered, moralmoral
ExistentialExistential
ActorsActors 3 males – 3 males – max.max.
m/f - m/f - unlimitedunlimited
Conclusion…Conclusion…
3 main periods of 3 main periods of growth and growth and change in genre: change in genre: Classical (Greek), Classical (Greek), Renaissance, and Renaissance, and ModernModern
Should be able to Should be able to see evolution of see evolution of genregenre
Job well done…pat Job well done…pat yourself on the yourself on the backback
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