Ancient Greek Theatre

Tragedies:

• Aeschylus - 525-456 B.C. - 80 plays, 7 extant
• Euripides - 480-406 B.C. - 90 plays, 18 or 19 extant
• Sophocles - 495-406 B.C.-100 plus plays, 7 extant

Comedies

• Aristophanes - 448-338 or 380 B.C. 50 plays, 11 extant. Lysistrata, 411 B.C.
  45 plays extant total 32 tragedies, 12 comedies, 1 satyr play (satirical parody-short)

From the 4th century B.C., there are some lengthy extant fragments of some of the 100 plus plays of :

• Menander - 342-291 B.C., the only one of some 64 writers known about - The Grouch is the longest play fragment - influenced Roman comedy

•  

• Therefore, the conclusions we make are highly conjectural, but we can discuss the standard accepted views of Greek theatre.

8th century B.C. -- the first drama in recorded history.

By 5th century B.C. The "polis" or city-state was the governing unit. 

Athens was the strongest polis for art and literature - the first democracy -- all could participate (citizens -- no women, slaves, or foreigners)

Pericles (c. 460-430 B.C.) -- "first citizen" of Athens -- led Athens in the "Golden Age of Greece" -- "Age of Pericles" -- he emphasized culture --architecture, art, and drama

Had temples and public building built, including the Theatre of Dionysus (Dionysus) and the Parthenon

Athens was defeated in the Peloponnesian War in 404 B.C.

Greek society viewed gods in human terms - gods held grudges, etc., fought with each other - therefor their destiny (and those of humans) was uncertain

A strong concern for humanity - the founders of philosophy came from this period

Humans were elevated from animals, but harmony depended on a conjunction of human and divine forces. If disharmony, peace was endangered.

Drama therefore focused on human struggles, but with a "supernatural" element.
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Four Qualities of Greek Drama:

1. Performed for special occasions (festivals)

Athens had four festivals worshipping Dionysus -- (Bacchus in

Latin, Roman) god of wine, fertility, rebirth

The son of Zeus [a god] and Semele [a mortal], reared by satyrs, killed, dismembered, and resurrected (was actually reborn) --

2.    Competitive -- prizes awarded

Actors and playwrights competed --Oedipus apparently didn't win

(was 2nd) -- 430 B.C.

3. Choral -- singing seems to have been an important part

a chorus of men (varied in size form 3 to 50) -- many think the choral song -- dithyramb-- was the beginnings of Greek drama (but origins are unclear)

4. Closely associated with religion - stories based on myth or history

Some believe the chorus sang, moved, danced

Most believe the chorus underscored the ideas of the play, provided point-of-view, and focused on issues of the play and implications of the action, established the play's ethical system, and participated in the action

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The Greek Tragedy

Structure of Greek Tragedy:

1.    Late point of attack

2.    Violence and death offstage (Sophocles's Ajax  is an exception)

3.    Frequent use of messengers to relate information

4.    Usually continuous time of action (except Aeschylus's Eumenides)

5.    Usually single place (except Ajax)

6.    Stories based on myth or history, but varied interpretations of events

7.    Focus is on psychological and ethical attributes of characters, rather than physical and sociological.

"The Artists of Dionysus" seem to have been a sort of actors' union in the 3rd century B.C. 


The Three Greek Tragedians:

1. Aeschylus - his are the oldest surviving plays - began competing 449 B.C. at Dionysus Theatre. Most of his plays were part of trilogies; the only extant Greek trilogy is The Orestia.

He is Believed to have introduced the 2^nd actor (Thespis was one, the 2^nd added; after 468 B.C. Sophocles is believed to have introduced the 3^rd actor, which Aeschylus then used.

2. Sophocles: (496-406 B.C.) won 24 contests, never lower than 2^nd; believed to have introduced the 3^rd actor; fixed the chorus at 15 (had been 50)

Characteristics of Sophocles' 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

Greek Comedy 

• not admitted to Dionysus festival till 487-486 B.C. - late
• unknown origins or influences
• perhaps from improvisations of leaders of phallic songs
• or from mime - satirical treatment of domestic situations or burlesqued myths
• 6 comic dramatists besides Aristophanes (his is the only extant work)
• Called "Old Comedy" (Menander's plays are considered to be Greek "New Comedy")
• commentary on contemporary society, politics, literature, and Peloponnesian War.
• Based on a "happy idea" - a private peace with a warring power or a sex strike to stop war
• exaggerated, farcical, sensual pleasures

Actors and Acting:

Tragedy:

Playwrights originally acted, but by 449 B.C. with the contests for tragic actors, they didn't.

Actors were semi-professional, at best.

Three-actor rule (that only three actors were in productions) - seems supported by evidence, but questioned by some.

Oedipus at Colonus - could have only three actors, but only if a different actor played the same character in different scenes.

Comedy:

Fewer restrictions

Playwrights cast till 449 B.C., with the advent of the contests, then the main actors were chosen by lot and the others by the main actors and the playwright.

Actors were paid by the State.

Only the leading actors were eligible for competition.

A vocal acting - declamatory - to project appropriate emotional tone, mood, and character.

Three kinds of delivery: speech, recitative, and song.

No facial importance - masks used.

Gesture and movement were broadened and simplified.

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Acting styles:

Actors usually played more than one role

Men played all the parts

Stylized - used masks, choral declamation, etc.

Tragedy leaned toward idealization; comedy toward burlesque.

Other elements affecting 5^th century Greek productions:

The chorus - tragedies

dominant in early tragedies (so main actors could change roles ?)

by Euripides, chorus only loosely related to the action

Size:

traditional view : from 50 to 12 to 15.

Generally believed to be 15 by the time of Sophocles and Euripides.

Later diminished in time.

Entered with stately march, sometimes singing or in small groups.

Choral passages sung and danced in unison, sometimes divided into two groups.

Sometimes exchanged dialog with the main characters, rarely individual speaking (though some say the choregus  may have spoken / sung alone).

The type of groupings are unknown.

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Chorus for "Old Comedy" (Menander's plays are considered to be Greek "New Comedy"):

24 people, sometimes divided into two

Could have both genders (Lysistrata).

More varied entrances, groupings, etc.

More active

In both comedy and tragedy, the chorus probably entered after the prolog and then stayed.

Functions of the chorus

1. an agent: gives advice, asks, takes part

2. establishes ethical framework, sets up standard by which action will be judged

3. ideal spectator - reacts as playwright hopes audience would

4. sets mood and heightens dramatic effects

5. adds movement, spectacle, song, and dance

6. rhythmical function - pauses / paces the action so that the audience can reflect.

The chorus was usually made up of amateurs - 11 months training - the most expensive part of the production.

Music - most believe music was integral-most dialog was recitative (retch-ee-tah-teev')

(Highlighted by Teacher)

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