greek theater. roots in worship of dionysus god of wine and revelry
TRANSCRIPT
Roots in Worship of Roots in Worship of DionysusDionysus
God of wine and revelryGod of wine and revelry
OriginsOriginsCelebration of Dionysus- God of WineCelebration of Dionysus- God of Wine
Performed in circular dancing place Performed in circular dancing place (orchestra)(orchestra)
A chorus of men dressed in goat skinsA chorus of men dressed in goat skins
Trageoia= goat songTrageoia= goat song
A story about Dionysus by leader of the A story about Dionysus by leader of the choruschorus
PRODUCTIONPRODUCTION OrchestraOrchestra Chorus (from 12-15 people)Chorus (from 12-15 people) Actors- always men, masked and in costumesActors- always men, masked and in costumes Early plays of Aeschylus- only two actors; by Early plays of Aeschylus- only two actors; by
about 450 B.C., a third had been added about 450 B.C., a third had been added The poet composed the music and the dance as The poet composed the music and the dance as
well as the text, directed the production, and well as the text, directed the production, and trained the chorus; some dramatists also trained the chorus; some dramatists also played the leading rolesplayed the leading roles..
The chorus was dominant because there was usually one actor and that actor had to leave the stage several times during a show to change characters.
The chorus was to be a representation of society, they often served as the “ideal spectator” by providing advice, opinions, questions to the audience and actors.
The main actor(s) stood apart in the performance space because they typically played heroic figure that would realistically be separated from normal mortal beings.
Their costumes and masks added spectacle and their movement and dance heightened the dramatic effect.
Great actors were characterized by their voice quality and the ability to adopt their manner of speaking to the character.
The chorus was dominant because there was usually one actor and that actor had to leave the stage several times during a show to change characters.
The chorus was to be a representation of society, they often served as the “ideal spectator” by providing advice, opinions, questions to the audience and actors.
The main actor(s) stood apart in the performance space because they typically played heroic figure that would realistically be separated from normal mortal beings.
Their costumes and masks added spectacle and their movement and dance heightened the dramatic effect.
Great actors were characterized by their voice quality and the ability to adopt their manner of speaking to the character.
The Greek Chorus
Functions of Chorus
The beauty of poetry and dancing
Relieves tension
Interprets events for audience
Often converses with the actors; gives advice
Gives background of events
Tragedy
A drama of a character, usually one in A drama of a character, usually one in high position, where a conflict usuallyhigh position, where a conflict usuallydevelops between the protagonist/herodevelops between the protagonist/heroand a “superior force (such as destiny,and a “superior force (such as destiny,
circumstance, or society)” and the storycircumstance, or society)” and the storyends in some sort of disaster or great fallends in some sort of disaster or great fall
of the protagonist.of the protagonist.Tragedy
n A drama of a character, usually one in ahigh position, where a conflict usuallydevelops between the protagonist/heroand a “superior force (such as destiny,
circumstance, or society)” and the storyends in some sort of disaster or great fall
of the protagonist.
Hubris and Hamartia
On Hamartia: “A tragic flaw or error that in
ancient Greek tragedies leads to the hero’s
reversal of fortune.”
On Hubris: Excessive pride or arrogance.
Often leads to the downfall of the major
character in Greek tragedy.
Moving on…
New myths are used, not just Dionysus
Aeschylus: introduced second actor
Dialogue
Sophocles: introduced third actor
Dramatic action
GREAT GREEK TRAGEDIANSGREAT GREEK TRAGEDIANS
AESCHYLUS (ca.525-456 AESCHYLUS (ca.525-456 B.C.)B.C.)
SOPHOCLES (ca.495-406 B.C.)SOPHOCLES (ca.495-406 B.C.)EURIPIDES (c 480-406 B.CEURIPIDES (c 480-406 B.C.).)
AESCHYLUS (ca.525-456 B.C.) AESCHYLUS (ca.525-456 B.C.)
The "Father of Tragedy" The "Father of Tragedy" Addition of a second actor Addition of a second actor Made much use of imagery Made much use of imagery His tragedy deals Fates and the justice of the His tragedy deals Fates and the justice of the
gods gods His plays reflect the contemporary belief that the His plays reflect the contemporary belief that the
gods, jealous and resentful of human greatness, gods, jealous and resentful of human greatness, typically inflict great persons with a character typically inflict great persons with a character flaw that brings their ruin flaw that brings their ruin
SOPHOCLES (ca.495-406 B.C.)
Won the competition at the Great Dionysia Won the competition at the Great Dionysia more often than any other of the great more often than any other of the great dramatists dramatists
He increased the potential for dramatic conflict He increased the potential for dramatic conflict by adding a third actor by adding a third actor
wrote dramas which were complete in wrote dramas which were complete in themselves, rather than always part of a trilogy themselves, rather than always part of a trilogy
Sophoclean drama deals primarily with strong Sophoclean drama deals primarily with strong characters characters
EURIPIDES (c 480-406 B.C.)
Wrote prolifically- some 90 plays, of Wrote prolifically- some 90 plays, of which 19 survivedwhich 19 survived
He won the prize for the best play only He won the prize for the best play only four times (but then the Academy four times (but then the Academy Awards usually get it wrong too). Awards usually get it wrong too).
He wrote of less heroic, more realistic He wrote of less heroic, more realistic characters characters
EURIPIDES Cont.
One device he uses (and it is often seen as a weakness in his plays) is the deus ex machina, a god, not involved earlier in the action, who descends in a stage machine to straighten out the mess humans have got themselves into.
Structure of Tragedy
Prologue-First ActPrologue-First Act
Parados- Entrance of the ChorusParados- Entrance of the Chorus
Episodes- ActsEpisodes- Acts
Stasima-Choral OdesStasima-Choral Odes
Exedus- Action after last stasimonExedus- Action after last stasimon
Typical Greek Theatre
Theatron- where the audience sits
Open air
Hillside
Seating capacity of the Theatron of Dionysus of Athens?
About 17,000
Orchestra-dancing place of the chorusOrchestra-dancing place of the chorus
Skene- dressing room for actorsSkene- dressing room for actors
Proscenium- the façade of the skene where Proscenium- the façade of the skene where scenery was-scenery was-
No curtainsNo curtains
Dues et Machina- technical device- crane Dues et Machina- technical device- crane atop the skene with a dummy hung atop the skene with a dummy hung representing gods.representing gods.
Tunnel from behind the Skene to the center of the stage.
Scenic wagonsrevealed through doors on the Skene.
Pinakespainted panels that could be attached to the skene.
Tunnel from behind the Skene to the center of the stage.
Scenic wagonsrevealed through doors on the Skene.
Pinakespainted panels that could be attached to the skene.
The Machina- a crane that was used to
represent characters who were flying or lifted
off of the earth.
The Machina- a crane that was used to
represent characters who were flying or lifted
off of the earth.
Deus ex Machina- “God From the Machine”
Deus ex Machina- “God From the Machine”
Differences: Drama, Then and NowDifferences: Drama, Then and Now
Greek drama(GD) is a religiousGreek drama(GD) is a religious
GD get its subjects from mythologyGD get its subjects from mythology
GD outlines the plot in advance, little GD outlines the plot in advance, little suspencesuspence
GD main intrest is relgioun and ethical GD main intrest is relgioun and ethical instruction instruction
All Short plays 17,000 longest to 900 All Short plays 17,000 longest to 900 shortestshortest
Unity
Unity of action- no subplots
Unity of place-no change of scenery
Unity of time- max of one day
No intermissions
Twice a year in the day
Staging an ancient Greek play
Plays were funded by the polis Plays were funded by the polis Plays presented in competition with other plays Plays presented in competition with other plays Tragedies almost exclusively dealt with stories Tragedies almost exclusively dealt with stories
from the mythic past from the mythic past Comedies almost exclusively dealt with Comedies almost exclusively dealt with
contemporary figures and problems.contemporary figures and problems. The great tragedies of Aeschylus, Sophocles, The great tragedies of Aeschylus, Sophocles,
and Euripides were performed annually at the and Euripides were performed annually at the spring festival of Dionysus, god of wine, and spring festival of Dionysus, god of wine, and inspirationinspiration.
1. Central Character 1. Central Character is of the Elite Class – is of the Elite Class –
Usually noble or Usually noble or RoyalRoyal
3. Central 3. Central Character is Character is
Neither Wholly Neither Wholly good nor wholly good nor wholly
evilevil
4. Downfall is the 4. Downfall is the result of a Fatal result of a Fatal
Flaw or error Flaw or error ((HamartiaHamartia))
5. Misfortunes 5. Misfortunes involve characters involve characters
who are related who are related or who are friends or who are friends
– closely – closely connectedconnected
Pity and Fear leads to a Pity and Fear leads to a catharsiscatharsis
According to Aristotle, According to Aristotle, this is one of the most this is one of the most important purposes of important purposes of
DramaDrama
TIMELINE OF GREEK DRAMA
7th Century BC7th Century BC c. 625 Arion at Corinth produces named c. 625 Arion at Corinth produces named
dithyrambic choruses dithyrambic choruses
6th Century BC6th Century BC 600-570 Cleisthenes, tyrant of Sicyon, transfers 600-570 Cleisthenes, tyrant of Sicyon, transfers
"tragic choruses" to Dionysus"tragic choruses" to Dionysus
540-527 Pisistratus, tyrant of Athens, founds the 540-527 Pisistratus, tyrant of Athens, founds the festival of the Greater Dionysiafestival of the Greater Dionysia
TIMELINE OF GREEK DRAMA
536-533 Thespis puts on tragedy at festival of the 536-533 Thespis puts on tragedy at festival of the Greater Dionysia in AthensGreater Dionysia in Athens
525 Aeschylus was born525 Aeschylus was born
511-508 Phrynichus' first victory in tragedy511-508 Phrynichus' first victory in tragedy
c. 500 Pratinus of Phlius introduces the c. 500 Pratinus of Phlius introduces the satyr play to Athens satyr play to Athens
TIMELINE OF GREEK DRAMA
5th Century BC5th Century BC 499-496 Aeschylus' first dramatic competition499-496 Aeschylus' first dramatic competition c. 496 Sophocles was bornc. 496 Sophocles was born 492 Phrynicus' Capture of Miletus (Miletus was 492 Phrynicus' Capture of Miletus (Miletus was
captured by the Persians in 494)captured by the Persians in 494) 485 Euripides was born485 Euripides was born 484 Aeschylus' first dramatic victory484 Aeschylus' first dramatic victory 472 Aeschylus' Persians472 Aeschylus' Persians 467 Aeschylus' Seven Against Thebes467 Aeschylus' Seven Against Thebes 468 Aeschylus defeated by Sophocles in dramatic 468 Aeschylus defeated by Sophocles in dramatic
competition competition
TIMELINE OF GREEK DRAMA
463? Aeschylus' Suppliant Women Aeschylus' Suppliant Women 458 Aeschylus' Oresteia (Agamemnon, Libation 458 Aeschylus' Oresteia (Agamemnon, Libation
Bearers, Eumenides)Bearers, Eumenides) 456 Aeschylus dies456 Aeschylus dies c. 450 Aristophanes was bornc. 450 Aristophanes was born 447 Parthenon begun in Athens447 Parthenon begun in Athens c. 445 Sophocles' Ajaxc. 445 Sophocles' Ajax 441 Sophocles' Antigone441 Sophocles' Antigone 438 Euripides' Alcestis438 Euripides' Alcestis 431-404 Peloponnesian War (Athens and allies vs. 431-404 Peloponnesian War (Athens and allies vs.
Sparta and allies)Sparta and allies)
TIMELINE OF GREEK DRAMA
431 Euripides' Medea431 Euripides' Medea c. 429 Sophocles' Oedipus the Kingc. 429 Sophocles' Oedipus the King 428 Euripides' Hippolytus428 Euripides' Hippolytus 423 Aristophanes' Clouds423 Aristophanes' Clouds 415 Euripides' Trojan Women415 Euripides' Trojan Women 406 Euripides dies; Sophocles dies406 Euripides dies; Sophocles dies 405 Euripides' Bacchae405 Euripides' Bacchae 404 Athens loses Peloponnesian War to 404 Athens loses Peloponnesian War to
Sparta Sparta
TIMELINE OF GREEK DRAMA
401: Sophocles' Oedipus at Colonus
4th Century BC 399 Trial and death of Socrates c. 380's Plato's Republic includes
critique of Greek tragedy and comedy c. 330's Aristotle's Poetics includes
defense of Greek tragedy and comedy
“Indeed, some say that dramas are so called, because their authors represent the characters as "doing" them (drôntes). And it is on this basis that the Dorians [= the Spartans, etc.] lay claim to the invention of both tragedy and comedy. For comedy is claimed by the Megarians here in Greece, who say it began among them at the time when they became a democracy [c. 580 BC], and by the Megarians of Sicily on the grounds that the poet Epicharmas came from there and was much earlier than Chionides and Magnes; while tragedy is claimed by certain Dorians of the Peloponnese. They offer the words as evidence, noting that outlying villages, called dêmoi by the Athenians, are called kômai by them, and alleging that kômôdoi (comedians) acquired their name, not from kômazein (to revel), but from the fact that, being expelled in disgrace from the city, they wandered from village to village. The Dorians further point out that their word for "to do" is drân, whereas the Athenians use prattein. ”(Aristotle: Poetics Chapter 3)