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Greek Theater

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Greek Theater

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    3. Origins Celebration of Dionysus- God of Wine Performed in circular dancing place (orchestra) A chorus of men dressed in goat skins Trageoia= goat song A story about Dionysus by leader of the chorus

    4. PRODUCTION Orchestra Chorus (from 12-15 people) Actors- always men, masked and in costumes Early plays of Aeschylus- only two actors; by about 450 B.C., a third had been added The poet composed the music and the dance as well as the text, directed the production, and trained the chorus; some dramatists also played the leading roles.

    8. Functions of Chorus The beauty of poetry and dancing Relieves tension Interprets events for audience Often converses with the actors; gives advice Gives background of events

    10. Tragedy A drama of a character, usually one in high position, where a conflict usually develops between the protagonist/hero and a superior force (such as destiny, circumstance, or society) and the story ends in some sort of disaster or great fall of the protagonist. Tragedy n A drama of a character, usually one in a high position, where a conflict usually develops between the protagonist/hero and a superior force (such as destiny, circumstance, or society) and the story ends in some sort of disaster or great fall of the protagonist.

    11. Hubris and Hamartia n Hamartia: A tragic flaw or error that in ancient Greek tragedies leads to the heros reversal of fortune. n Hubris: Excessive pride or arrogance. Often leads to the downfall of the major character in Greek tragedy.

    12. Thespis of Athens Ca. 535 B.C.E. Father of Drama Created the first actor Hypokrites

    13. Moving on New myths are used, not just Dionysus Aeschylus: introduced second actor Dialogue Sophocles: introduced third actor Dramatic action

    14. GREAT GREEK TRAGEDIANS AESCHYLUS (ca.525-456 B.C.) SOPHOCLES (ca.495-406 B.C.) EURIPIDES (c 480-406 B.C.)

    15. AESCHYLUS (ca.525-456 B.C.) The "Father of Tragedy" Addition of a second actor Made much use of imagery His tragedy deals Fates and the justice of the gods His plays reflect the contemporary belief that the gods, jealous and resentful of human greatness, typically inflict great persons with a character flaw that brings their ruin

    17. SOPHOCLES (ca.495-406 B.C.) Won the competition at the Great Dionysia more often than any other of the great dramatists He increased the potential for dramatic conflict by adding a third actor wrote dramas which were complete in themselves, rather than always part of a trilogy Sophoclean drama deals primarily with strong characters

    18. EURIPIDES (c 480-406 B.C.) Wrote prolifically- some 90 plays, of which 19 survived He won the prize for the best play only four times (but then the Academy Awards usually get it wrong too). He wrote of less heroic, more realistic characters

    19. EURIPIDES Cont. One device he uses (and it is often seen as a weakness in his plays) is the deus ex machina, a god, not involved earlier in the action, who descends in a stage machine to straighten out the mess humans have got themselves into.

    20. Structure of Tragedy Prolouge-First Act Parados- Entrance of the Chorus Episodes- Acts Stasima-Choral Odes Exedus- Action after last stasimon

    21. Typical Greek Theatre Theatron- where the audience sits Open air Hillside Seating capacity of the Theatron of Dionysus of Athens? About 17,000

    24. Orchestra-dancing place of the chorus Skene- dressing room for actors Proscenium- the faade of the skene where scenery was- No curtains Dues et Machina- technical device- crane atop the skene with a dummy hung representing gods.

    27. Differences Drama, Then and Now Greek drama(GD) is a religious GD get their subjects from mythology GD outlines the plot in advance, little suspence GD main intrest is relgioun and ethical instruction All Short plays 17,000 longest to 900 shortest

    28. Rated G No violent action Scenes of horror happen off stage Reported to the audience

    29. Unity Unity of action- no subplots Unity of place-no change of scenery Unity of time- max of one day No intermissions Twice a year in the day

    31. Staging an ancient Greek play Plays were funded by the polis Plays presented in competition with other plays Tragedies almost exclusively dealt with stories from the mythic past Comedies almost exclusively dealt with contemporary figures and problems. The great tragedies of Aeschylus, Sophocles, and Euripides were performed annually at the spring festival of Dionysus, god of wine, and inspiration.

    55. TIMELINE OF GREEK DRAMA 7th Century BC c. 625Arion at Corinth produces named dithyrambic choruses 6th Century BC 600-570 Cleisthenes, tyrant of Sicyon, transfers "tragic choruses" to Dionysus 540-527 Pisistratus, tyrant of Athens, founds the festival of the Greater Dionysia

    56. TIMELINE OF GREEK DRAMA 536-533 Thespis puts on tragedy at festival of the Greater Dionysia in Athens 525Aeschylus was born 511-508 Phrynichus' first victory in tragedy c. 500Pratinus of Phlius introduces the satyr play to Athens

    57. TIMELINE OF GREEK DRAMA 5th Century BC 499-496Aeschylus' first dramatic competition c. 496Sophocles was born 492Phrynicus' Capture of Miletus (Miletus was captured by the Persians in 494) 485Euripides was born 484Aeschylus' first dramatic victory 472Aeschylus' Persians 467Aeschylus' Seven Against Thebes 468Aeschylus defeated by Sophocles in dramatic competition

    58. TIMELINE OF GREEK DRAMA 463?Aeschylus' Suppliant Women 458Aeschylus' Oresteia (Agamemnon, Libation Bearers, Eumenides) 456Aeschylus dies c. 450Aristophanes was born 447Parthenon begun in Athens c. 445Sophocles' Ajax 441Sophocles' Antigone 438Euripides' Alcestis 431-404 Peloponnesian War (Athens and allies vs. Sparta and allies)

    59. TIMELINE OF GREEK DRAMA 431Euripides' Medea c. 429Sophocles' Oedipus the King 428Euripides' Hippolytus 423Aristophanes' Clouds 415Euripides' Trojan Women 406Euripides dies; Sophocles dies 405Euripides' Bacchae 404Athens loses Peloponnesian War to Sparta

    60. TIMELINE OF GREEK DRAMA 401Sophocles' Oedipus at Colonus 4th Century BC 399 Trial and death of Socrates c. 380'sPlato's Republic includes critique of Greek tragedy and comedy c. 330'sAristotle's Poetics includes defense of Greek tragedy and comedy

    62. Indeed, some say that dramas are so called, because their authors represent the characters as "doing" them (drntes). And it is on this basis that the Dorians [= the Spartans, etc.] lay claim to the invention of both tragedy and comedy. For comedy is claimed by the Megarians here in Greece, who say it began among them at the time when they became a democracy [c. 580 BC], and by the Megarians of Sicily on the grounds that the poet Epicharmas came from there and was much earlier than Chionides and Magnes; while tragedy is claimed by certain Dorians of the Peloponnese. They offer the words as evidence, noting that outlying villages, called dmoi by the Athenians, are called kmai by them, and alleging that kmdoi (comedians) acquired their name, not from kmazein (to revel), but from the fact that, being expelled in disgrace from the city, they wandered from village to village. The Dorians further point out that their word for "to do" is drn, whereas the Athenians use prattein. (Aristotle: Poetics Chapter 3)

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