1. Greek Tragedy History and the Theater

2. The Tragic Form  Originates from Greece.  Term means “goat-song” possibly referring to the sacrifice of a goat to the god Dionysus or the prize given to the playwright who won at the play competitions.

3. Dionysus Tragedies were performed in his honor

4. Dionysus  In Greek mythology, he was a nature god of fruitfulness and vegetation, especially know as a god of wine and ecstasy.

5. Greek Tragedies  Drawn from familiar myths of gods and mortals found in the works of Homer and elsewhere  This familiarity focused the dramatic interest on the presentation of the changing awareness and responses of those involved, rather than on plot.

6. Violence and Irreverence  These scenes were not depicted on stage.  Instead they were reported and commented upon

7. Conflict  Between the protagonist and a superior force (such as destiny, circumstance, or society).

8. The End (resolution)  The tragic protagonist is confronted in the end by an inexorable fate that ensures an unhappy outcome.

9. Dionysus Theater-Reconstructed

10. Dionysus Theater- Now

12. Dionysus Theater  Open-aired theater  Like a semicircular football stadium  Performance area at the bottom; seating extended up the hillside

13. Orchestra  Orchestra: circular, level space made of hard earth where the chorus would dance, sing, and interact with the actors who were on the stage near the skene.  In the center of the orchestra there was often an altar.  The orchestra of the theater of Dionysus in Athens was about 60 feet in diameter.

14. Stage Area (view from the stage looking at the orchestra)

15. Theatron (seating area)  Where the spectators sat.  Usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra  Spectators probably sat on cushions or boards, but by the fourth century the theatron of many Greek theaters had marble seats.

16. Theater Seating

17. Skene  the building or “tent” directly behind the stage.  raised only two or three steps above the level of the orchestra, and was perhaps 25 feet wide and 10 feet deep.  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.  also had access to the roof from behind, so actors playing gods and other characters could appear on the roof, if needed.

18. Parodos  "passageways" or paths by which the chorus and some actors made their entrances and exits.  The audience also used them to enter and exit the theater before and after the performance.

19. Stage Setting  In traditional Greek drama, little or no scenery was used.  Settings today are elaborate  They often consist of layers of settings including a backdrop, removable set, and layers of props

20. Costumes

21.  They wore long robes with vertical stripes.  Costumes were always stiff, heavy, dull, and dark colored to make apparent of their character's feelings.  Wealthy characters wore very embroidered, authentic and intricately designed costumes giving the audience a sense of their character's wealth as well as personality.

22. Masks  The masks were typically made of very thin and delicate clay, wood, or even stiffened cloth in some cases.  Then, a thin piece of linen was stretched over the base material of the mask.  Then, the masks were carefully carved and designed to fit the role of the theatrical performances.

23. Purpose of Masks  Exaggerated the facial features of the actor.  Helped the audience tell whether the actor was playing a man or a woman, his or her social stature, and his or her expression.  Because the features were so much larger than those of a real human's face it was easy for the audience on the hillside to see.  In the mouth of the mask, there was a metal mouthpiece, which helped exaggerate the voice of the actor, making it heard through out the stands.