Greek Theatre. Greek Festivals  Festivals honored Olympian gods  Ritual Competitions  Olympics: Apollo  Athletics  Lyric Poetry  Drama: Dionysos.

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Presentation transcript:

Greek Theatre

Greek Festivals  Festivals honored Olympian gods  Ritual Competitions  Olympics: Apollo  Athletics  Lyric Poetry  Drama: Dionysos  Dithyrambic Choruses  Tragedy  Comedy

Greek Theatre  6th - 4th century bce  Originated in festivals honoring Dionysos  Tragedy:  Aeschylus ( bce)  Sophocles ( bce)  Euripides ( bce)  Comedy:  Old Comedy: bawdy and satiric  Aristophanes (c c.385 bce)  New Comedy: social situations:  Menander ( bce)

Theatre Festivals  There were two festivals during which dramatic productions were staged.  The Greater Dionysia took place at the end of March or the beginning of April  Three days were given over to theatrical competition.  Three playwrights each took part in the contests: Each tragedian put on a trilogy in the morning and each comic writer put on one comedy in the afternoon.  The festival at Lenaes,staged at the end of January or the beginning of February, placed its emphasis on comedy

Theatre at Epidaurus

Curved seats may have aided acoustics.

ACTORS  No tragedy used more than 3 actors  All actors were male  Costumes included character masks, and, in later years, raised boots  Acting must have more expressive than realistic

Greek Theatre Masks

THE CHORUS: the voice of the citizens

ORIGINS of TRAGEDY  Tragedy, derived from the Greek words tragos (goat) and ode (song), told a story that was intended to teach religious lessons  Arose from dithyrambic choruses: The dithyramb was an ode to Dionysus. It was usually performed by a chorus of fifty men dressed as satyrs -- mythological half-human, half-goat servants of Dionysus. They played drums, lyres and flutes, and chanted as they danced around a statue of Dionysus.  In the 6 th c. bce Thespis of Attica added an actor who interacted with the chorus. This actor was called the protagonist.  In 534 BC, the ruler of Athens, Pisistratus, changed the Dionysian Festivals and instituted drama competitions. Thespis won the first competition in 534 BC.

Tragic Tetralogies  Each tragic dramatist had to present a trilogy of tragedies: connected narratively or dramatically  The entire trilogy was performed in one day.  The trilogy was followed by a satyr play - mocking and lightening the seriousness of the tragedies  A Tetralogy, then, is a series of 4 plays: 3 tragedies and one satyr play

TRAGIC STRUCTURE 4-5 alternating scenes and choral odes, including the PROLOGOS: Introductory scene PARADOS: Entry of chorus EPISODEION STASIMON PAEAN: a hymn of praise to the gods EXODOS: final scene EPODE: final ode.

ARISTOTLE’S THREE UNITIES  Aristotle’s On Tragedy is usually considered the first piece of Western dramatic criticism. In it, he proclaimed that tragedy must follow the 3 unities:  UNITY OF TIME: one day  UNITY OF PLACE: one setting  UNITY OF ACTION: one plot

AESCHYLUS bce  General in Persian Wars -- fought at Marathon, Salamis, Platea  Fierce proponent of Athenian ideals  The first of the great Athenian dramatists, was also the first to express the agony of the individual caught in conflict.  Credited with adding the second actor  Only extant trilogy: The Oresteia  Agamemnon  The Libation Bearers  The Eumenides

SOPHOCLES bce  Wrote over 100 plays, but only seven survive  Credited with adding the third actor  Known as actor as well as dramatist  Most interested in human dynamics  THEBAN PLAYS:  Oedipus the King  Oedipus at Colonnus  Antigone

EURIPIDES c bce  The last of the three great Greek tragic dramatists plays survive  Explored the theme of personal conflict within the polis and the depths of the individual  Disgust with events of Pelopennesian War brought about disillusionment with Athens  Men and women bring disaster on themselves because their passions overwhelm their reason

TRAGIC ACTION ARETE, ARISTEIA: excellence HUBRIS: arrogance HAMARTIA: fatal mistake PERIPETEIA: reversal of fortune ANAGNORISIS: understanding KATHARSIS

ORIGINS of OLD COMEDY  Arose from komos : songs of revelry, charms to avert evil, prayers for fertility sung to Dionysus  Chorus dressed ludicrously  Audience responded to choral komos and were gradually admitted into chorus  Chorus became two-part group with antiphonal song

CONVENTIONS of OLD COMEDY  Scene set on Athenian street  “Events seldom occur – they are merely talked about”  Masks and fantastic costumes  Satiric of contemporary events and public figures  Bawdy

COMIC STRUCTURE Komos: final choral song and exit in wild revelry 4-5 alternating scenes and choral odes illustrating the outcome of the agon Prologos: introductory scene Parados: entry of 24 member chorus dressed in fantastic costume Agon: argument “just prior to the agon, the leader of the chorus always asks one contender to present his argument, and it is this contender who always loses” Parabasis: chorus’s great song Episodeion Stasimon

ARISTOPHANES c BCE  30+ plays; 11 extant; 6 first prizes  Plays include  Clouds  Wasps  Birds  Lysistrata  Frogs (Lenaia 405)  Critique of Euripides & Socrates: reactionary conservative; social critic  Plato's epitaph for Aristophanes : “The Graces, seeking a shrine that could not fall, discovered the soul of Aristophanes.”

New Comedy  By 317 BC, a new form had evolved that resembled modern farces: mistaken identities, ironic situations, ordinary characters and wit.  Basic plot: Boy meets girl, complications arise, boy gets girl – ends with betrothal or marriage.  5 act structure: acts divided by interludes performed by the chorus  Stock characters: young lovers, parasite, lecherous old men, clever servants, etc.  Social rather than political satire

MENANDER bce  1905 a manuscript was discovered in Cairo that contained pieces of five Menander plays, and in 1957 a complete play, Diskolos (The Grouch, 317 BC), was unearthed in Egypt.  Menander’s comedy with its emphasis on mistaken identity, romance and situational humor, became the model for subsequent comedy, from the Romans to Shakespeare to Broadway.

 Parts of Menander’s comedies found their way into plays by  Roman playwrights: Plautus and Terence  Shakespeare's Comedy of Errors  Stephen Sondheim's A Funny Thing Happened on the Way to the Forum.

The End