1. Introduction To Greek Theatre and Tragedy

2. Genre: Greek Tragedy
the word "tragedy" refers primarily to tragic drama: a literary composition written to be performed by actors in which a central character called a tragic protagonist or hero suffers some serious misfortune which is not accidental and therefore meaningless, but is significant in that the misfortune is logically connected with the hero's actions. Tragedy stresses the vulnerability of human beings whose suffering is brought on by a combination of human and divine actions, but is generally undeserved with regard to its harshness.

3. The Acropolis
Ancient Temple of Worship

4. The Parthenon
The Parthenon is a temple of the Greek goddess Athena built in the 5th century BC on the Acropolis of Athens. It is the most important surviving building of Classical Greece, generally considered to be the culmination of the development of the Doric order. Its decorative sculptures are considered one of the high points of Greek art. The Parthenon is regarded as an enduring symbol of ancient Greece and of Athenian democracy, and is one of the world's greatest cultural monuments.

5. Theatre of Dionysus

6. Theatre of Dionysus

7. Orchestra: The orchestra (literally, "dancing space") was normally circular. It was a level space where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. The center of the orchestra was a sacrificial altar.
Theatron: The theatron (literally, "viewing-place") is where the spectators sat. The theatron was usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra (see the diagram above).
Skene: The skene (literally, "tent") was the building directly behind the stage. The skene was directly in back of the stage, and was usually decorated as a palace, temple, or other building, depending on the needs of the play. It had at least one set of doors, and actors could make entrances and exits through them. There was also access to the roof of the skene from behind, so that actors playing gods and other characters could appear on the roof, if needed.
Parodos: The parodoi (literally, "passageways") are the paths by which the chorus and some actors (such as those representing messengers or people returning from abroad) made their entrances and exits. The audience also used them to enter and exit the theater before and after the performance.

8. Side by Side
There are three ancient terms having to do with the theater still used today, but with a different meaning.
The orchestra is a round or semi-circular paved area where the chorus sings and dances.  The word itself means ‘place for dancing’.  The shape of the orchestra may have been determined by the round threshing floor used for threshing grain, which at festival time was used as a dancing floor in the Greek countryside.  As mentioned earlier, in the center of the orchestra was a sacrificial altar.
Theatron ('a viewing area') is that part of the ancient theater from which the audience views the drama and is not used of the whole structure.
Skene  (‘tent’, ‘stage building’) is a wooden construction with a flat roof in front of which actors acted out their roles.  The skene  usually represented a palace (sometimes a temple), although the occasional play that required a natural setting could be accommodated with a set representing rocks.  The skene was also used as a dressing room and storage area for props.  The actors performed on a shallow apron in front of the skene which was connected with the orchestra by stairs only a few feet high.  These stairs allowed the actors to join the chorus in the orchestra when necessary.
Parodos is a gangway leading into the orchestra over which chorus and actors made their entrances.  There are two parodoi, one on each side of the orchestra.  Parodos is also the name of the song chanted by the chorus as they entered the orchestra at the beginning of the play.
The seating arrangement of the Theater of Dionysus is an aesthetically pleasing arrangement of tiers of seats consisting of concentric arcs rising up the slope of a hill.  Radial staircases separate the viewing into wedge-shaped sections (kerkides).  The radial staircases were necessary for the quick entrance and exit of a large crowd.  It has been estimated that the Theater of Dionysus in the late fourth century could hold up to 17,000 spectators.

9. Greek Masks Functions of Greek Masks Portrayed different emotions
Amplified voices
Allowed actors to portray different characters

10. Attire The Chiton Chotharnus- elevating shoes Chalmys- short cloak
Himation- long cloak
Costume:
A standard costume: sleeved, decorated tunic, full-length usually, derived from robes of Dionysian priests - called a chiton.
Cotharnus is a high boot or soft shoe, perhaps elevated with a thick sole.
A short cloak may also have been worn, called a chalmys, or a long one called a himation.

11. Qualities of Greek Drama
Performed on special occasions or festivals for worshipping Dionysus
Competitive- prizes awarded (maybe a goat!)
Choral-singing was very important, Greek Theatre evolved from from a chorus singing
Closely associated with religion and worshipping gods.

12. Structure of Greek Drama and Sophocles’ Plays
Here are a few characteristics of the structure of Greek Drama:
Violence and Death Offstage
Frequent use of messengers to relate information
Usually a single place (setting)
Stories based on myth or history, but varied interpretations of both
Here are some characterisitics of a Sophocles’ play:
Emphasis on individual chatacters
Reduced role of the Chorus
Complex characters, psychologicall well-motivated
Characters subjected to crisis which leads to suffering and self-recognition
Common Theme: The choices people make and consequences

13. The Greek Chorus
The Chorus began in numbers as large as 50, then smaller sizes as actors become more predominate. They provided time for scene changes, introduced background and summary information. Their dance and chanting provided the visionary experience that separated audience from the actor and the essence of tragedy.
Ideal spectator: reacts as the audience should. Asks questions, takes part in the play
Establishes framework, sets the standard by which action will be judged
Heightens dramatic effect through movement, song and dance
Rhythmical Function-pauses/paces the action so audience can reflect and actors can rest/prepare

14. So What does all this mean?
Big Theatre
Big Characters
Big Emotions
Big Consequences- for one person!
Who could that be!

15. THE TRAGIC HERO!

16. Aristotle’s Tragic Hero
ｷ Tragedy should evoke a sense of pity and fear in the audience
ｷ Tragedy can only arouse the sense of pity and fear if the hero is neither completely good nor completely bad
ｷ The tragic hero should be highly renowned and prosperous because the hero must fall from tremendous good fortune in order to feel pity and fear
ｷ The hero experiences a downfall because of their “error or frailty. This means either:
ｧ their tragic flaw ( a fundamental character weakness, such as destructive pride, ruthless ambition or obsessive jealousy.) or
ｧ a single error of judgment

17. Tragic Hero Continued
ｷ Regardless of how one interprets the “error or frailty”, the key point is that the hero is on some level responsible for their downfall.
ｷ By the end of the play the hero comes to recognize their error and accept the consequences as their own fault
ｷ The real tragic hero is humbled and enlightened b the tragedy
ｷ The tragic hero evokes our pity because he is not evil and his misfortune is greater than he deserves, and he evokes our fear because we realize we are fallible and could make the same error