Classical Theatre: The Birthplace of Tragedy

1. Classical Theatre: The Birthplace of Tragedy AP English Literature

2. Poetics • Authored by Aristotle (340 B.C.E.) • Early attempt at literary criticism • Response to Plato’s The Republic (c. 380 B.C.E.)—Plato banishes poet from ideal state • Poets are imitators of things (two removes from Platonic reality) • Works are directed by our emotions • Poetry arouses emotions of pity and fear

3. The Argument • Plato argues poetry, including tragedy, is harmful and has no place in the ideal state. • Aristotle’s work refutes that claim and demonstrates his position. • Aristotle addresses • Plato’s objection to the arousal of pity and fear • Purpose of tragedy is to cause a catharsis • A cleansing, purification, purgation • A catharsis is a “safe” purging of the emotions of pity and fear

4. Timeline • Poetics was penned long after Sophocles’ death (406 B.C.E.) • Aristotle considered Oedipus the King the perfect tragedy, and his analysis fits the play perfectly.

5. Tragedy • An imitation of a single, unified action that is serious, complete and probable, and of a certain magnitude • Presented in the form of action, not narrative • Plot is the “first principle,” the most important feature of tragedy

6. A literary tragedy presents courageous individuals who confront powerful forces within or outside themselves with a dignity that reveals the breadth and depth of the human spirit in the face of failure, defeat, and even death (Bedford, 1423). • The protagonist should be extraordinary rather than typical.

7. Tragic Protagonist • Man or woman (preferably male), who is preeminent or better than average in some way • Must undergo a reversal of fortune or fall from his/her position • For the proper emotions to be aroused, the protagonist must not be excessively good OR evil. • The reversal of fortune must come about not through wickedness but through hamartia • Hamartia: mistake or error in judgment

8. Other terms • The reversal of fortune will be brought about by a peripeteia or an unexpected turn of events and should include an anagnorisis or recognition. • Anagnorisis: the discovery or recognition that leads to the reversal • Peripeteia: reversal; protagonist’s fortune turn in an unexpected way. In tragedy, it is the “fall.” • Aristotle felt the peripeteia and the anagnorisis should occur together

9. Terms • Hubris: overweening pride or ambition • Pathos: “suffering” • Dramatic irony: the meaning of a character’s words is understood by the audience but not by the character

10. Greek Drama • Tragedy in Ancient Athens • Developed in Athens in 5th century B.C.E.(Golden Age of Greece) • Plays categorized as tragedies by their form and time and place, not by the “sadness” of their plots. Plot has to be serious • Plots were drawn from myths/legends • Celebrate courage and dignity in the face of defeat/portrays the grandeur of the human spirit.

11. City Dionysia • Festival to honor the god Dionysus/held in late March • Tragedians submitted requests to compete • (3) were accepted and performed, competing against one another • Each playwright entered 3 tragedies (trilogy) plus a 4th satry play (modern word “satire”). Burlesque portrayal, presented gods and heroes in comic situations. • One of Euripides satyr plays has survived.

12. Origins • Tragedy (tragoidia) means most nearly“goat song.” • Plays were originally a series of hymns and prayers led by a priest and a large chorus (choir) • Developed out of choral performances of songs and dances • Thespis (Thespians) added an actor to the chorus • Aeschylus added a 2nd actor, Sophocles a 3rd

13. Performances • Held outside in amphitheaters • Began at dawn and continued throughout the day • Scholars estimate 14, 000 attended • Plays were performed once. • No private theatres/companies • Financed by the state with the help of wealthy citizens

14. Greek Theatre • All actors were men • Chorus, led by a flute player, enters singing the parados. One actor stands apart as leader • No intermission • No curtain/formal division of scene • Only 3 actors (with Sophocles) • Actors wore masks with cone-shaped projection (like a megaphone)

15. Long, graceful robes • Costumes of symbolic color (green=mourning, purple=royal) • No artificial lighting • Little, if any, scenery • Despised physical violence on stage • We learn of these things through a messenger’s speech.

16. The Chorus • Greek for “dance” • 12-15 members (Sophocles increased number to 15) • Set mood/use of flute/poetic songs • Added beauty • Provides background information • May side with a character • Presents central themes • Reflects on events/actions

17. Not to be confused with the playwright’s opinions • They function as a dramatic element • Shows the communal background of the action • Assumes no life is entirely private

18. Aristotle’s Unity of Time, Place, and Action • Time: within a single day • Place: no scene change • Action: no subplots, one basic story

19. The Great Tragedians • Aeschylus (7/90) • Sophocles (7/123) • Euripides (18/90) ***there were many great tragedians but few works have survived. Only 32 are extant (existing) out of the thousands written in 5th century B.C.E.

20. Why is this play relevant? • While Sophocles’ play is ancient, our concern about what it means to be human in a world that frequently runs counter to our desires is still prevalent.