1. CLASSICAL THEATER Background Information for “Antigone”

2. PURPOSE OF CLASSICAL DRAMA Dramas presented by the state at annual religious festivals. Plays were supposed to be presented for the purpose of ethical and moral improvement of the spectators and to ensure the spiritual survival of the community. Winners of prizes were selected by ten citizens chosen by lots for the duty. See theater diagram

3. Actors were all male. They wore masks. Actors were all male. They wore masks. Scenes of the drama were always outdoors; indoor actions were reported by messengers. Scenes of the drama were always outdoors; indoor actions were reported by messengers. There was no violence on stage There was no violence on stage There was “unity” in plot -- no subplots or irrelevancies. There was “unity” in plot -- no subplots or irrelevancies. The action always took place in one day. The action always took place in one day. There were no curtains or intermissions. There were no curtains or intermissions. MECHANICS OF GREEK DRAMA

4. CHORUS IN GREEK DRAMA The function of the chorus was to : The function of the chorus was to : Represent the local townspeople Represent the local townspeople set the mood of the drama set the mood of the drama interpret events/relieve the tension interpret events/relieve the tension generalize meaning of the action generalize meaning of the action converse with and give advice to the actors converse with and give advice to the actors give background information give background information emphasize the beauty of poetry and dancing emphasize the beauty of poetry and dancing leader acted as spokesman for the group leader acted as spokesman for the group

5. SUBJECT OF PLAYS The subject was almost exclusively taken from well- known myths. The subject was almost exclusively taken from well- known myths. The plays explored the mysteries of life and the role of the gods in human affairs. The plays explored the mysteries of life and the role of the gods in human affairs. The main purpose was ethical and religious instruction. The main purpose was ethical and religious instruction.

6. STYLE IN PLAYS There are long, wordy speeches (sometimes about current events or contemporary people). There are long, wordy speeches (sometimes about current events or contemporary people). Speeches given by a character who is alone onstage, revealing his or her thoughts, are called soliloquy. Speeches given by a character who is alone onstage, revealing his or her thoughts, are called soliloquy.

7. TRAGEDIES Out of great tragedy comes wisdom. Out of great tragedy comes wisdom. Tragedy- tells the story of the fall of a person of high status and celebrates the courage and dignity the hero displays in the face of inevitable doom Tragedy- tells the story of the fall of a person of high status and celebrates the courage and dignity the hero displays in the face of inevitable doom Tragic hero- hero who is destined to fail Tragic hero- hero who is destined to fail Tragic flaw- personal weakness that brings about failure of tragic hero Tragic flaw- personal weakness that brings about failure of tragic hero

8. CONCEPT OF TRAGIC HERO AND TRAGEDY (from Aristotle) Tragedy arouses the emotions of pity, fear, wonder and awe. A tragic hero must be a man or woman capable of great suffering. Tragedy explores the question of the ways of God to man. Tragedy purifies the emotions (catharsis) Tragedy shows how man is brought to disaster by a single flaw in his own character.

9. Irony Irony- the difference between appearance and situation Irony- the difference between appearance and situation Dramatic Irony- when something is known by the reader/audience which is not known by the characters Dramatic Irony- when something is known by the reader/audience which is not known by the characters Verbal Irony- when a statement is made which implies its opposite Verbal Irony- when a statement is made which implies its opposite Irony of situation- when an event occurs that violates the expectations of characters, the readers, and the audience. Irony of situation- when an event occurs that violates the expectations of characters, the readers, and the audience.

10. Foil- a character whose attributes, or characteristics, contrast with, and therefore throw into relief, the attributes of another character. In other words, this character is the polar opposite of the other character and these Foil- a character whose attributes, or characteristics, contrast with, and therefore throw into relief, the attributes of another character. In other words, this character is the polar opposite of the other character and these differences highlight the other characters qualities, drawing attention to them.

11. Analogy- a comparison of two things that are alike in some respects. Analogy- a comparison of two things that are alike in some respects. Mood- also known as atmosphere-- the emotion created in the reader by the literary work Mood- also known as atmosphere-- the emotion created in the reader by the literary work Allusion- a reference an author makes to another work Allusion- a reference an author makes to another work Paean- an ode or hymn appealing to the gods for assistance Paean- an ode or hymn appealing to the gods for assistance

12. Antigone and Greek Theatre Terms exodus -- final action of the play exodus -- final action of the play Mood/atmosphere-- emotion created in the reader by part or all Mood/atmosphere-- emotion created in the reader by part or all Dionysus -- God of drama Dionysus -- God of drama skene -- wooden building with three doors through which actors made their entrances and exits skene -- wooden building with three doors through which actors made their entrances and exits theatron or orchestra -- dancing place of the chorus theatron or orchestra -- dancing place of the chorus parados -- chorus marching in from the left or right parados -- chorus marching in from the left or right thymele -- altar to Dionysus on which sacrifices were made, and which was sometimes used as a stage prop thymele -- altar to Dionysus on which sacrifices were made, and which was sometimes used as a stage prop

13. prologue -- opening scene (introduction) prologue -- opening scene (introduction) episode -- act or scene episode -- act or scene stasimon -- choral ode (end of each episode) stasimon -- choral ode (end of each episode) chorus -- clarifies experiences and feelings of the characters and expresses conventional attitude toward development in the story; also sets the mood chorus -- clarifies experiences and feelings of the characters and expresses conventional attitude toward development in the story; also sets the mood proscenium -- level area in front of the skene on which most of the plays action took place proscenium -- level area in front of the skene on which most of the plays action took place choral ode -- lyric sung by the chorus which develops the importance of the action choral ode -- lyric sung by the chorus which develops the importance of the action

14. strophe -- a turning, right to left, by chorus strophe -- a turning, right to left, by chorus antistrophe -- a turning, left to right, by chorus antistrophe -- a turning, left to right, by chorus choragas -- leader of the chorus choragas -- leader of the chorus epode -- the part of a lyric ode following the strophe and antistrophe epode -- the part of a lyric ode following the strophe and antistrophe hubris -- Greek word for excessive pride or arrogance hubris -- Greek word for excessive pride or arrogance

15. humartia -- Greek word for error in judgment, especially resulting from a defect in the character of a tragic hero; the tragic flaw humartia -- Greek word for error in judgment, especially resulting from a defect in the character of a tragic hero; the tragic flaw sphinx -- a female monster, usually represented as having the head and breast of a woman, the body of a lion, and the wings of an eagle sphinx -- a female monster, usually represented as having the head and breast of a woman, the body of a lion, and the wings of an eagle unities -- time, place, action; a play should have no subplot, should not cover more than 24 hours and should not have more than one locale unities -- time, place, action; a play should have no subplot, should not cover more than 24 hours and should not have more than one locale

16. Conclusion Thank You Thank You Have a nice day Have a nice day