Theatre of ancient Greece

The theatre of Ancient Greece, or ancient Greek drama, is a theatrical culture that flourished in ancient Greece between 550 BC and 220 BC. The city-state of Athens, which became a significant cultural, political, and military power during this period, was its centre, where it wasinstitutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 6th century BC), comedy (486 BC), and the satyr play were the three dramatic genres to emerge there.

Etymology

The word τραγῳδία (tragoidia), from which the word "tragedy" is derived, is a compound of two Greek words: τράγος (tragos) or "goat" and ᾠδή (ode) meaning "song", from ἀείδειν (aeidein), "to sing".^[1] This etymology indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy. ^[2]

Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians.

The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica.

New inventions during the Classical Period

After the Great Destruction of Athens by the Persian Empire in 485 BC, the town and acropolis were rebuilt, and theatre became formalized and an even greater part of Athenian culture and civic pride. This century is normally regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC, each playwright also submitted a comedy.^[10] Aristotle claimed that Aeschylus added the second actor, and that Sophocles introduced the third. Apparently the Greek playwrights never used more than three actors based on what is known about Greek theatre.

Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner.

Characteristics of the buildings 

The Ancient Theatre of Delphi.

The plays had a chorus from 12 to 15^[12] people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theater" came to be applied to the whole area of theatron, orchestra, and skené. The choregos was the head chorus member who could enter the story as a character able to interact with the characters of a play.

A drawing of an ancient theatre. Terms are in Greek language andLatin letters.

The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. Mathematics played a large role in the construction of these theatres, as their designers had to be able to create acoustics in them such that the actors' voices could be heard throughout the theatre, including the very top row of seats. The Greeks' understanding of acoustics compares very favourably with the current state of the art. The first seats in Greek theatres (other than just sitting on the ground) were wooden, but around 499 BC the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. They were called the "prohedria" and reserved for priests and a few most respected citizens.

In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skênê (from which the word "scene" derives). The death of a character was always heard behind the skênê, for it was considered inappropriate to show a killing in view of the audience.^{[citation needed]} Though there is scholarly argument that death in Greek tragedy was portrayed off stage primarily because of dramatic considerations, and not prudishness or sensitivity of the audience. ^[13] In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skênê in the theatres. A paraskenia was a long wall with projecting sides, which may have had doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of the scene") was beautiful, and was similar to the modern day proscenium.

Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the skênê, the back wall, was two stories high. The upper story was called the episkenion. Some theatres also had a raised speaking place on the orchestra called the logeion.

Masks

Tragic Comic Masks

Masks and Rituals

The Ancient Greek term for a mask is prosopon (lit., "face"),^[14] and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vase,^[15] which depicts actors preparing for a Satyr play.^[16] No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated to the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.^[17]

Masks were also made for members of the chorus, who play some part in the action and provide a commentary on the events in which they are caught up. Although there are twelve or fifteen members of the tragic chorus, they all wear the same mask because they are considered to be representing one character.

Mask details

The mask-makers were called skeuopoios or “maker of the properties,” thus suggesting that their role encompassed multiple duties and tasks. The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig consisting of human or animal hair.^[19] Due to the visual restrictions imposed by these masks, it was imperative that the actors hear in order to co-orientate and balance themselves. Thus, it is believed that the ears were covered by substantial amounts of hair and not the helmet-mask itself. The mouth opening was relatively small, preventing the mouth to be seen during performances. Vervain and Wiles posit that this small size discourages the idea that the mask functioned as a megaphone, as originally presented in the 1960s.^[16] Greek mask-maker, Thanos Vovolis, suggests that the mask serves as a resonator for the head, thus enhancing vocal acoustics and altering its quality. This leads to increased energy and presence, allowing for the more complete metamorphosis of the actor into his character.^[20]

Mask functions

In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to bring the characters' face closer to the audience, especially since they had intensely exaggerated facial features and expressions.^[20] They enabled an actor to appear and reappear in several different roles, thus preventing the audience from identifying the actor to one specific character. Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in a particular character’s appearance, e.g. Oedipus after blinding himself.^[21] Unique masks were also created for specific characters and events in a play, such as The Furies in Aeschylus’ Eumenides and Pentheus and Cadmus in Euripides’ The Bacchae. Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona or single organism and simultaneously encouraged interdependency and a heightened sensitivity between each individual of the group. Only 2-3 actors were allowed on the stage at one time, and masks permitted quick transitions from one character to another. There were only male actors, but masks allowed them to play female characters.

Other costume details

The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock.

Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".

(Highlited by the teacher)