greek theater. roots in worship of dionysus god of wine and revelry

Greek Theater

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..

Masks of Masks of Greek Greek TheaterTheater

Masks of Greek Theater

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

Chorus

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.

Thespis of Athens

Ca. 535 B.C.E.

Father of Drama

Created the first actor

Hypokrites

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 Sophocles

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

Dionysus Theater in AthensDionysus Theater in Athens

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.

The Greek Outdoor AmphitheatreThe Greek Outdoor Amphitheatre

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

Rated G

No violent action

Scenes of horror happen off stage

Reported to the audience

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.

Theater at Epidaurus

Dionysus Theater in Athens

Chorus

Aristotle’s Aristotle’s PoeticsPoetics

1. Central Character 1. Central Character is of the Elite Class – is of the Elite Class –

Usually noble or Usually noble or RoyalRoyal

2. Central 2. Central Character suffers Character suffers

a Downfalla Downfall

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

6. Tragic actions 6. Tragic actions take place take place offstageoffstage

7. Central 7. Central Character has a Character has a

moment of moment of recognitionrecognition

8. Audience 8. Audience experiences pity experiences pity

and fear and fear

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

Oedipus and Sphinx

Audience at Theater

of Delphi

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


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


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


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)


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


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

Delphi

“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)

greek theater. roots in worship of dionysus god of wine and revelry

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