Oedipus Rex

1. Oedipus Rex Unit Background

2. Greek Drama In General

3. Conventions of Greek Drama • Religion/Competition • Outdoor Theater (Amphitheater) • Chorus/Stylized Masks

4. Conventions – Religion/Competition • Based on mythology/history • Performed in festivals to honor Dionysus • votes cast and prizes awarded (first, second, third, etc.) • Sophocles wrote 123 plays during his lifetime; 24 won first prize and the rest won second.

5. Conventions - Amphitheater Theater of Dionysus in Athens

6. Parts of a Greek Theater • Orchestra – normally circular; chorus used this space to sing, dance, interact with actors on the stage • Theatron – spectator section; usually part of hillside sloping down toward orchestra; often wrapped around large portion of orchestra; held 14,000 to 15,000 spectators Above • Section of Theatron, including restored entrance to stage left parados • In Epidavros

7. Parts of a Greek Theater • Skene – building behind the stage; usually decorated as setting (temple, palace); had at least one set of doors; access to roof • Proskenion – wide shallow stage in front of the skene • Parodos – paths by which chorus and some actors (messengers, travelers) enter and exit the stage; used by audience to enter/exit theater

8. Conventions - Amphitheater South Slope of the Theater of Dionysus Athens

9. Conventions - Chorus • Group varying from three to 50; believed to be 15 by the time of Sophocles • Main commentators on character and events • Sung and danced in unison • Sometimes exchanged dialogue with main characters • Rarely spoke individually

10. Conventions - Chorus • Functions of the Chorus • An agent to give advice, ask questions, take part in the action • Establish ethical framework, and set up the standard by which the action will be judged • Ideal spectator – reacts as playwright hopes the audience would • Sets mood and heightens dramatic effects • Adds movement, spectacle, song, and dance • Rhythmical function – pauses/paces the action so that the audience can reflect

11. Conventions - Masks • probably designed to enhance projection • allowed few actors to play multiple roles • only three actors for each play (debatable) • all performers were men

12. Greek Tragedy In Particular

13. Aristotle’s Poetics • Brief book by Greek philosopher and scientist, Aristotle (384-322) • Includes first and most influential analysis of drama • Defines tragedy as an “imitation of life”

14. Aristotle’s Poetics • Catharsis – an emotional purification or relief brought about by viewing the tragedy • Hubris – reckless pride, sometimes brought about by a belief the protagonist has that s/he is above the fates or in control of destiny • Hamartia – a character fault or mistake (like an Achilles heel rather than a flaw for which s/he can be held directly responsible) • Anagnorisis – process of recognition, in which the protagonist sees his/her own nature and destiny more clearly than before

15. Elements of Drama Six elements of tragedy In Aristotle’s order of importance Subject Matter Plot Character Thought Language and Performance Diction Song Spectacle Aristotle’s Poetics

16. Poetics Elements – Subject Matter • Plot – “the sole of tragedy” • arrangement of the incidents to include a beginning, a middle, and an end • Character – hero is “above the common level” • should stress morality, be appropriate, be true to life, and be consistent • Thought – is found “where something is proved to be or not to be, or a general maxim is enunciated” • main idea or concept that characters make concrete in action of the drama • Example: “Count no man happy till he dies, free of pain at last.” (stated by chorus at the end of Oedipus Rex)

17. Poetics Elements – Language and Performance • Diction – “the expression of meaning in words” • Clear without being commonplace • Song – simply, music • Spectacle – technical stagecraft • “The spectacle has, indeed, an emotional attraction of its own, but of all the parts, it is the least artistic, and connected least with the art of poetry… The production of spectacular effects depends more on the art of the stage machinist than on that of the poet.”

18. Greek Tragedy - Structure • Prologue: spoken by one or two characters before the chorus appears; usually gives background necessary for understanding the events of the play • Parodos: the song sung by chorus as it first enters • Episode: a scene • Stasimon/Ode: chorus dances and sings after other characters have exited; usually reflects on play’s action and puts it into some kind of larger mythological framework • Exodos: chorus exits singing a processional song which typically offers words of wisdom related to actions and outcome of the play

19. Sophocles In General

20. Sophocles • 496 B.C.(in Athens) to 406 B.C. • Founded Thiasos of Muses (society for advancement of music and literature) • Very active in politics of the new democracy • Two sons: Iophon (with wife, Nicostrate), and illegitimate Ariston (with Theoris) • “Theban Trilogy” – Oedipus Rex, Oedipus at Colonus, Antigone (written first)

21. Sophocles – Characteristics of Plays • emphasis on individual characters • reduced role of chorus • complex characters, psychologically well-motivated • characters subjected to crisis leading to suffering and self-recognition - including a higher law above man • exposition carefully motivated • scenes suspensefully climactic • action clear and logical • poetry clear and beautiful • few elaborate visual effects • theme emphasized: the choices of people

22. Sophocles – “Sophoclean Heroes” • Stubborn and self-willed • Reject advice • Cut off from family or society • Pursue own purposes and form own identities

23. Oedipus Rex In Particular

24. Oedipus Rex - Overview

25. Oedipus Rex – Dramatic Structure • Setting: palace at Thebes over the course of a day • Prologue • Details problem and steps Oedipus has taken to correct it • Parodos • Chorus’ lament, and prayer to various Gods • First Episode/Scene • Oedipus and Tiresias’ argument over prophecy • First Stasimon/Ode • Chorus sides with Oedipus • Second Episode/Scene • Oedipus and Creon conflict • Jocasta tells her story • Second Stasimon/Ode • Choral response critical of Oedipus

26. Oedipus Rex – Dramatic Structure • Third Episode/Scene • Jocasta appeals to gods • Corinthian messenger arrives with news • Third Stasimon/Ode • Chorus appeals to Dionysus • Fourth Episode/Scene • Shepherd is brought • Oedipus realizes his identity • Fourth Stasimon/Ode • Chorus expresses pity for Oedipus • Exodos • Messenger reports fates of Jocasta and Oedipus • Creon banishes Oedipus • Choral Leader censures people

27. Oedipus Rex – Thematic Topics • Knowledge and Ignorance • Public vs. Private Life • Choices and Consequences

28. Oedipus Rex – Historical Context • Civil and Moral Unrest • City-states competing for trade, commerce, artistic superiority • 429 B.C. - great plague kills 2/3 population of Athens • Democracy and Government • Full citizenship given only to men • Women and slaves followed different code of conduct

29. Oedipus Rex – Historical Context • Playwrights and Drama • Established traditions of comedy and tragedy • The Great Dionysia festival competition • The Sophists • Group broke with tradition • Focused more on the study of the actions of humankind than on standard legends of gods and goddesses

30. Works Cited Abel, Lisa, ed. Theatre: Art in Action. Lincolnwood: National Textbook Company, 1999. 66-68, 530-532. “Ancient Greek Theater.” 27 Nov 2007. <http://academic.reed.edu/humanities/110tech/Theater.html> Best, Michael. “Greek Terms Used in Tragedy.” Shakespeare's Life and Times. 2001-2005. 27 Nov. 2007. <http://ise.uvic.ca/Library/SLT/intro/introcite.html>. Englert, Walter. “Ancient Greek Theater”. 28 Nov 2007. <http://academic.reed.edu/humanities/110tech/Theater.html> Johnson, William. “Oedipus The King, by Sophocles.” Fall 2006. 28 Nov. 2007. <http://classics.uc.edu/~johnson/tragedy/oedipus_king.html> “Masks.” 27 Nov. 2007. <http://www.greekhandicraft.com/mask.html> “Offerings Made Before the Image of Dionysus”. Dionysus. Fall 1997. 27 Nov. 2007. <http://www.holycross.edu/departments/classics/jhamilton/mythology/dionysus/> Reynolds, Will. “The Republican Chorus.” Online blog. Where there’s a Will, there’s a way. 3 Nov. 2006. 27 Nov. 2007. <http://www.thereisaway.us/campaigning/> Siegel, Janice. “Dr. J’s Illustrated Greek Theater.” 27 Nov. 2007. <http://people.hsc.edu/drjclassics/lectures/theater/ancient_greek_theater.shtm> “Sophocles.” Ancient/Classical History. 2007. 27 Nov 2007. <http://ancienthistory.about.com/od/events/ig/5th-Century-Greece-and-Rome/Sophocles.--1B.htm> “Sophocles.” Perseus Encyclopedia. 28 Nov 2007. <http://www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0004&layout=&loc=sophocles> Stenudd, Stefan. “Aristotle’s Writing.” 2006. <http://www.stenudd.com/myth/greek/aristotle/aristotle-06-writing.htm> Trumbull, Eric W. “Ancient Greek Theatre.” Introduction to Theatre. 1998-2007. 27 Nov. 2007. <http://novaonline.nvcc.edu/eli/spd130et/ancientgreek.htm> Weimelt, J. “The Classical Greek Chorus” 28 Nov. 2007. <http://www2.selu.edu/Academics/Faculty/jwiemelt/classes/engl230/chorus.htm>

31. strophe • Greek: turn, bend, twist • forms the first part of the ode in Ancient Greek tragedy • "strophe, antistrophe and epode were a kind of stanza framed only for the music," with the strophe chanted by a Greek chorus as it moved from right to left across the scene. (John Milton)

32. antistrophe • Greek: a turning back • the portion of an ode sung by the chorus in its returning movement from west to east, in response to the strophe, which was sung from east to west • has the nature of a reply and balances the effect of the strophe