1. GREEK DRAMA

2. How did drama begin? n Traveling groups sang about myths and legends. n Playwrights decided to write down the stories in a form that could be acted out. n Playwright acts out the play by himself 1st actor- Thespis 534 B.C. n Aeschylus (525-456 B.C.), added the second actor, so there was interaction. n Sophocles added a third actor.

3. Sophocles (496- 406 B.C.) n Abolished the “trilogic form” n Each play could be a complete entity in itself n Responsible for the invention of scene painting and “periaktoi”- a three- sided revolving apparatus painted with scenery and used at each side of the stage.

4. Sophocles n Wrote 100-120 plays; seven have survived in their entirety n Wrote the “Theben Plays” n Oedipus the King (Rex) n Oedipus at Colonus n Antigone

5. “DIONYSIA” n Religious event held in the spring of each year n Festival honoring the Greek god, Dionysus n Play competitions held at the Theater of Dionysus at Athens (TDA) n Audience would cast stone ballots to vote for the winner

6. Play competitions n 3 playwrights chosen to perform three tragedies and one satire each day n Satire--humorous play about the three tragedies just presented –A SATYR PLAY IS A FARCICAL, OFTEN BAWDY PARODY OF THE GODS AND THEIR MYTHS. n Lasted three days, sunrise to sunset n Each playwright presented on one day n At the end of the third day, a laurel wreath and a cash award was given to the winning playwright.

7. Winners n Aeschylus and Sophocles won the most competitions. Sophocles won at least 20 times. n Euripides (480-406 B.C.), while winning less competitions, foreshadowed the ultimate form of drama as we know it -- employing a far more naturalistic or human approach in his works, in contrast to the remote scale and formalized conventions used by his contemporaries.

8. Comedies n Aristophanes (448-380 B.C.) and Menander (342-292 B.C.) were the greatest comic writers. n A separate competition for comedy which, while also dedicated to Dionysus, took place at the smaller winter festival, rather than the major spring festival at which the tragedies were presented. n These were dependent on topical humor and satire for much of their content, and have not survived the ages as well as tragedies -- which deal with more universal themes.

9. n One of two gods of the earth along with Demeter n God of poetry, drama, the song, and wine n Son of Zeus and Semele (or Persephone)

10. n Worshipped by a religious cult n Believed to be able to take the form of animals to be sacrificed n Worshipped during the festival and given credit for being able to have drama He was believed to have died every winter and revived every spring.

11. The Greek Theater

12. n Amphitheatre-Outdoor stadium--3,000 spectators – the largest ultimately held twenty thousand people n Theatron--“the seeing place”-- was audience seating n Orchestra--circular area for the chorus n Skene building--building used for dressing, entering and exiting the performance area Structure of the Greek theater-- THEATER

13. Theatron n Located on a sloped surface, usually a hillside n Half or semi-circle n Contained wooden or stone benches built into the hillside n Patrons looked down onto the performance area n Segregated seating n Patrons were from ALL classes

14. Orchestra n A flat, circular area where the chorus stood n Separated from the audience by a stone retaining wall n Contained a Thymele in the center of the circle (an altar to Dionysus) n Chorus proceeded to the orchestra by way of the paragos / parados

15. Skene n Flat-roofed scene building n Temporary construction of wood, later became permanent n Located across the rear of the orchestra circle n Used as a dressing area for actors

16. The Greek Theater theatron orchestra skene thymele paragos

18. The Greek Theater Theater of Dionysus in Athens, Greece

19. The Greek Theater

24. Theater--Machinery used n Trap door on the skene--divinities could appear on the roof n Mechane--a crane supported by a large stone that allowed characters to “fly” n Ekkyklema--”thing which rolls out”- -low rolling platform used to display dead bodies or to wheel out characters who were ill

25. Who acted out the plays? n “Hypocrits”=Actors, role players n Actor and playwright were originally the same n Never have more than three hypocrits n All male performers--played female roles also

26. Costumes n Long flowing robes, often with vertical stripes n Oversized and well-padded n High boots with raised soles or stilts n Colors were symbolic

27. Masks n Made of linen, wood, or cork n “Larger than life” n Identified age, gender, emotion n Exaggerated features-large eyes, open mouth n Amplified sound

28. Masks n Made of linen, wood, or cork n “Larger than life” n Identified age, gender, emotion n Exaggerated features-large eyes, open mouth n Amplified sound

29. Masks n Made of linen, wood, or cork n “Larger than life” n Identified age, gender, emotion n Exaggerated features-large eyes, open mouth n Amplified sound

30. Masks n Made of linen, wood, or cork n “Larger than life” n Identified age, gender, emotion n Exaggerated features-large eyes, open mouth n Amplified sound

31. Chorus n Contained 15 men who chanted and danced n Choragos--the spokesman or leader of the chorus n Commented on the action of the play and interpreted its meaning for the audience in chants and odes

32. Function of the Chorus n Sets the overall mood and expresses theme n Adds beauty (theatrical effectiveness) through song and expressive dance n Gives background information n Divides action and offers reflections on events n Questions, advises, expresses opinion (choragos)

33. Chorus Location of the chorus

34. Structure of a Greek Tragedy I. Prologue – exposition – provides background information to set up the conflict II. Parados – entrance of the chorus with the opening choral ode III. Episodes – scenes IV. Stasima – choral odes V. Paean– song to Dionysus VI. Exodus – action after the last stasimon, final scene

35. Odes n Poems chanted that were used to conclude each scene n Musical accompaniment-- flute, lyre, percussion n Also called stasima (stasimon) n Epode-final stanza

36. Paean n Song/Poem of thanksgiving to Dionysus n Given just before the exodus (final scene)

37. Conventions of Greek Drama n MESSENGER n Tells news happenings away from the scene n Reports acts of violence not allowed to be seen onstage

38. Conventions of Greek Drama n UNITIES – a way of providing a central focus to a play. Aristotle believed perfect tragedies had: n Unity of Action – simple plot with no mixture of tragedy and comedy n Unity of Time – single day n Unity of Place – one location of scenes

39. Conventions of Greek Drama n “STAGE DECENCIES” n No violent action in front of the audience n Scenes of horror occur off-stage and are reported to audience n Dialogue or messenger report

40. Limitations of the Theater n Continuous presence of the chorus “on-stage” n No intermissions, continuous flow of action and choral odes n No lighting n no curtains

41. Aristotle's Six Elements of Drama n 1. Plot (the incidents or story line) n 2. Character (physical, social, psychological, moral--people represented in the play) n 3. Thought/Theme (insights into humanity and life) n 4. Music (all sound) n 5. Spectacle (scenery and other visual elements) n 6. Diction/language (the dialogue and poetry)