QUICKIE GREEK DRAMA DETAILS.  ONE ACTOR  MINIMAL OR NON-EXISTENT SETS/SCENERY  USE OF CHORUS (APPROX. 50 PEOPLE)  CHORUS MEMBERS (NON-SINGING) EXPLAIN.

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QUICKIE GREEK DRAMA DETAILS

 ONE ACTOR  MINIMAL OR NON-EXISTENT SETS/SCENERY  USE OF CHORUS (APPROX. 50 PEOPLE)  CHORUS MEMBERS (NON-SINGING) EXPLAIN CHANGES IN SETTING, FILL IN DETAILS, COMMENT  PLAYWRIGHT WAS OFTEN THE AUTHOR, DIRECTOR, CHOREOGRAPHER, MUSICAL COMPOSER, LEADING ACTOR Early Classical Plays

 MOSTLY DISCUSSION AND NARRATION  NO BLOOD AND GORE (THIS SORT OF STUFF “HAPPENED” OFFSTAGE)  LACKING IN ILLUSION OR STAGE REALISM  IMAGINATION IS THE KEY  LOFTY MORAL THEMES  PART OF RELIGIOUS FESTIVALS, HELD THREE TIMES A YEAR—CONTESTS Classical Plays

 IN BOTH TRAGEDY AND COMEDY, ALL ACTORS SINCE THE 5TH CENTURY WORE MASKS AT ALL TIMES  THE MASK COVERED THE ENTIRE HEAD, INCLUDED THE APPROPRIATE HAIRSTYLE, BEARD, ORNAMENTS AND OTHER FEATURES  MADE OF A HARDENED LINEN-LIKE MATERIAL (THINK PAPIER-MACHE), OR WOOD OR CORK.  NO EXISTING EXAMPLES. Masks

PHILOSOPHER Warrior Dionysus

 MASKS WERE WORN FOR FOUR REASONS: 1. VISIBILITY: PERFORMERS WOULD PLAY FOR AN AUDIENCE OF 14,000, SO IT WAS DIFFICULT FOR EVERYONE TO SEE. THE MASKS HAD EXAGGERATED FEATURES TO HELP ACTORS BE SEEN AND EMOTIONS UNDERSTOOD. Masks

 MASKS WERE WORN FOR FOUR REASONS: 2. ACOUSTIC ASSISTANCE: SOME MASKS HAD A SMALL MEGAPHONE-LIKE DEVICE INSIDE THE MOUTH. Masks

 MASKS WERE WORN FOR FOUR REASONS: 3. FEW ACTORS, MANY ROLES: EACH PLAY HAD FEW ACTORS, BUT MANY DIFFERENT ROLES. MASKS HELPED ACTORS CHANGE CHARACTERS INSTANTLY. Masks

 MASKS WERE WORN FOR FOUR REASONS: 4. CHARACTERIZATION: MASKS HAD TO REPRESENT THE OUTSTANDING FEATURES & PERSONALITY OF THE CHARACTERS Masks

ARISTOTLE’S POETICS  TRAGEDY IS AN IMITATION OF ACTION, BOTH SERIOUS AND COMPLETE.  THERE MUST BE A CATHARSIS, INSTILLING FEAR AND PITY.  CATHARSIS—AN EMOTIONAL OUTPOURING; GETTING EVERYTHING OFF YOUR CHEST IN ONE BIG OLE SCREAMFEST.

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1. PLOT: ACTION OF THE PLAY

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1.PLOT 2.THOUGHT: EMOTIONS AND FEELINGS OF THE CHARACTERS

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1.PLOT 2.THOUGHT 3.CHARACTERS: INHABITANTS OF THE PLAY

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1.PLOT 2.THOUGHT 3.CHARACTERS 4.DICTION: SPEECH AND DIALOGUE OF THE CHARACTERS

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1.PLOT 2.THOUGHT 3.CHARACTERS 4.DICTION 5.SONG: RHYTHM OF THE PLAY

ARISTOTLE’S POETICS—ELEMENTS OF TRAGEDY 1.PLOT 2.THOUGHT 3.CHARACTERS 4.DICTION 5.SONG: 6.SPECTACLE: TECHNICAL ASPECTS, SUCH AS LIGHTING, SOUND, PROPS

ARISTOTLE’S POETICS—THE UNITIES 1.TIME: THE ENTIRE STORY TAKES PLACE FROM SUNUP TO SUNDOWN—ONE DAY (THERE MAY BE A BACKSTORY THAT OCCURRED BEFORE THE EVENTS OF THE PLAY, BUT ONLY THE EVENTS SURROUNDING THE CLIMAX OF THE STORY ARE HIGHLIGHTED.) (THERE MAY BE A BACKSTORY THAT OCCURRED BEFORE THE EVENTS OF THE PLAY, BUT ONLY THE EVENTS SURROUNDING THE CLIMAX OF THE STORY ARE HIGHLIGHTED.)

ARISTOTLE’S POETICS—THE UNITIES 1.TIME 2.PLACE: ONE LOCATION ONLY

ARISTOTLE’S POETICS—THE UNITIES 1.TIME 2.PLACE 3.ACTION: ONLY ONE CENTRAL STORY OR ACTION; ELIMINATES ACTION NOT RELEVANT TO THE PLOT

GREEK PLAYWRIGHTS: THE BIG FOUR (TIME TO BE MAD AT LOWTHER)

 ONE OF THE MOST INFLUENTIAL GROUND-BREAKERS:  INCREASED # OF ACTORS FROM 1 TO 2  INVOLVED THE CHORUS MORE IN THE ACTION  EMPHASIZED THE DIALOGUE  WROTE OVER 90 PLAYS—MOSTLY TRAGEDIES—ONLY 7 SURVIVED.  AGAMEMNON—BACK FROM TROJAN WAR; MURDER, ADULTERY, RESPONSIBILITY, WILL OF HEAVEN. Aeschylus ( BC)

 WAS 1 ST AN ACTOR, BUT WITH HIS 1 ST PLAY, DEFEATED AESCHYLUS  ADDED THE 3 RD ACTOR, INVENTED PAINTED SCENERY  LESS FORMAL, MORE REALISTIC  WROTE >120 PLAYS, ONLY 7 HAVE SURVIVED.  OEDIPUS THE KING—KILLED HIS FATHER, MARRIED HIS MOTHER. HUMAN RESPONSIBILITY, DIGNITY, FATE. Sophocles ( BC)

 IGNORED BY THE JUDGES BECAUSE HIS FREE-THINKING AND PACIFIST VIEWS WERE NOT POPULAR.  UNHAPPY LIFE IS REFLECTED IN PLAYS.  BEGAN TO INCORPORATE HUMOR, EXAMINE HUMAN PSYCHE AND EMOTIONS.  BROUGHT THE COMMON MAN, HIS LIFE, AND HIS LANGUAGE TO THE STAGE.  MEDEA Euripides ( BC)

 WROTE THE ONLY SURVIVING COMEDIES  PLAYS MARKED BY WIT, INVENTION, SKILLFUL USE OF LANGUAGE  SATIRICAL, SOPHISTICATED, OBSCENE  CRITICIZED POLITICS OF HIS TIME  11 IF HIS 40 PLAYS SURVIVED  LYSISTRATA—SPARTA & ATHENS AT WAR; WOMEN WITHHOLD SEX TO MAKE MEN STOP FIGHTING Aristophanes ( BC)