Greek thearte Flashcards
Orchestra
The orchestra was a circular piece of ground at the bottom of the theatron where the chorus and actors performed; the word means “dancing space”, as the chorus also danced in early periods. Originally unraised, Greek theatre would later incorporate a raised stage for easier viewing.
Skene
skene, (from Greek skēnē, “scene-building”), in ancient Greek theatre, a building behind the playing area that was originally a hut for the changing of masks and costumes but eventually became the background before which the drama was enacted.
Mechane -
This device was the crane that the Greeks used in their theatre mostly in the fifth and fourth centuries BC. The “mechane” was composed of wooden beams and used a pulley system to pick up an actor into the air and elevate them above the stage to simulate flight.
Ekkyklema -
was a wheeled platform rolled out through a skênê in ancient Greek theatre. It was used to bring interior scenes out into the sight of the audience. Some ancient sources suggest that it may have been revolved or turned.
Pronomoa vase -
The Pronomos Vase is the single most important piece of pictorial evidence for ancient theatre to have survived from ancient Greece. It depicts an entire theatrical chorus and cast along with the celebrated musician Pronomos, in the presence of their patron god, Dionysos.
Deme-theater at Thoricus -
was an ancient Greek theater in the demos of Thorikos in Attica, Greece. It holds the distinction of being the world’s oldest known theater,[1][2] dating back to its construction around 525–480 BC.[1] The theater is unusual in its design, as it is elongated instead of the typical semicircle.
Masks -
They wore masks to indicate the character that they were playing (e.g. woman, old man) or the emotion that they were showing (e.g. anger, sadness, joy). Actors in Greek plays often played several different parts and would put on a different mask for each part that they played.
What is the role and significance of drama and the theatre in ancient Athenian society, including, the religious context of the dramatic festivals?
Great Dionysia, also called City Dionysia, was an ancient dramatic festival in which tragedy, comedy and satyric drama originated; it was held in Athens in March in honour of Dionysus, the god of wine. The plays were usually inspired by Greek mythology/religion and dealt with moral social matters, no violence was allowed on stage. in Athens, theatrical performances had an extraordinary cultural reach and were of great social repercussion, also playing a relevant educational role for the establishment and maintenance of the democratic city. Playwrights’ use of myth and its political and religious significance were fundamental to the development of the dramatic arts in Athens, where beginning in 536/535 BC, tragedies, comedies, and satirical drama were annually performed during the festivals dedicated to the god Dionysus: the Dionysia and the Lenaia. Festivals were a part of Greek religion which were held to celebrate the gods and goddesses of the Olympic pantheon. Greek culture and their way of life were based on the festivals and religious rites they performed and at the same time, the purpose of most of their festivals were agrarian. Greek religious life centered on the festival, which is something like a modern-day religious service, track meet, “Shakespeare in the park” theater performance, and Mardi Gras party all rolled into one. Common activities at festivals included athletic competitions, artistic competitions (including the reciting of poetry and hymns and the performance of plays), large feasts, and religious sacrifices. These sacrifices served not only the needs of the gods, but also the very mundane needs of the people. They would have been the major opportunities for a population that lived largely on subsistence farming to eat meat. These festivals could be minor, local single-day affairs, or week-long multiple-city benders.
The ritual of theatrical performance was a tool to reinforce social order and reexamine religious belief in Athens in the 5th century BCE.
Dionysian
Role and Significance of Drama and Theatre
Religious Context:
How was the organisation of the City Dionysia, including the make up and involvement of the theatre audience, presented?
Organization of the City Dionysia
Preparation and Announcement:
The City Dionysia was meticulously planned months in advance. The Archon, a senior official, was responsible for overseeing the festival. He would appoint the Choregoi, wealthy citizens who financed the production of the plays.
A proagon (preliminary event) was held before the main festival, where playwrights and performers were introduced, and the themes of the plays were announced.
Structure of the Festival:
The festival lasted several days and included processions, sacrifices, and theatrical performances.
The major dramatic competitions featured three types of plays: tragedies, comedies, and satyr plays. Each playwright would typically present a tetralogy (three tragedies and one satyr play).
The Theatrical Performances:
The performances took place in the Theatre of Dionysus, an open-air venue at the foot of the Acropolis. The theatre could accommodate up to 17,000 spectators.
The plays were judged by a panel of citizens selected by lot. Awards were given to the best playwrights and choregoi.
Involvement and Makeup of the Theatre Audience
Diverse Audience:
The audience was diverse, comprising citizens, metics (resident foreigners), and even visitors from other city-states. Attendance was considered a civic duty and a part of religious observance.
Seating was arranged by demes (local divisions), with certain areas reserved for officials, priests, and dignitaries.
Engagement and Participation:
The Athenian audience was highly engaged and active during performances. They would express their reactions openly, cheering for popular actors and hissing at poor performances.
The theatre was a space for communal experience, where political, social, and philosophical ideas could be explored and discussed through the medium of drama.
Educational and Social Role:
The City Dionysia played a significant educational role, offering moral and ethical reflections on contemporary issues through the narratives of myths and historical events.
It reinforced social cohesion and Athenian identity by bringing together different segments of society to share in a collective cultural and religious experience.
Conclusion
The organization of the City Dionysia was a complex and well-coordinated process involving significant civic and religious engagement. The involvement of the theatre audience was integral to the festival’s success, reflecting the democratic spirit of Athens where citizens actively participated in cultural and political life. The festival not only celebrated Dionysus but also served as a platform for communal reflection and discourse, reinforcing the social and cultural fabric of the city.
What was the structure of the theatre space, and how this developed during the 5th and 4th centuries BC including?
The structure of ancient Greek theatres underwent significant development from the 5th century BC to the 4th century BC, reflecting changes in both architectural techniques and theatrical practices. Here’s a detailed look at the evolution:
5th Century BC
Early Theatre Structures:
Simple, Temporary Arrangements: Initially, Greek theatres were temporary wooden structures. The earliest theatres were little more than open spaces with wooden benches and stages.
Thespis and the First Actor: Thespis, considered the first actor, would perform on a simple, flat stage area (the orchestra) with the audience standing around or seated on rudimentary wooden benches.
Development of the Orchestra:
Circular Orchestra: By the mid-5th century BC, the orchestra (the circular space where the chorus performed) became more defined. It was typically a large, flat circular space at the foot of a hill.
Altar (Thymele): A central feature in the orchestra was the thymele, an altar to Dionysus, reflecting the religious origins of Greek theatre.
Seating (Theatron):
Hillside Seating: The audience sat on the slopes of a hill, providing natural, tiered seating. These seats were usually wooden and temporary.
Skene:
Simple Background Structure: The skene (scene building) was initially a small, temporary wooden structure used for changing costumes and storing props. It provided a simple backdrop to the action.
Late 5th Century to Early 4th Century BC
Transition to Permanent Structures:
Stone Construction: By the end of the 5th century BC, theatres began to be constructed from stone, replacing the temporary wooden structures. This transition allowed for more durability and stability.
Dionysus Theatre in Athens: One of the most significant developments was the construction of the Theatre of Dionysus in Athens in stone, starting around 330 BC.
Enhanced Skene:
Two-Story Skene: The skene evolved from a simple backdrop to a more elaborate, often two-story structure, allowing for more complex scenery and greater interaction between different levels of the stage.
Proskenion and Logeion: The proskenion (a raised platform in front of the skene) and the logeion (a speaking place for actors) became prominent features, enhancing the visual and functional aspects of the performance space.
Development of the Theatron:
Permanent Seating: Stone seats replaced wooden ones, creating more permanent and comfortable seating arrangements. The theatron became more formally structured into concentric rows of stone seats, often with a few rows of marble seats for dignitaries.
Division into Kerkides: The seating area was divided into wedge-shaped sections called kerkides by staircases, allowing for better organization and access.
Expansion of the Orchestra:
Reduced Size: While still central to the performance, the orchestra’s size was often reduced as the focus shifted more towards the skene and the action taking place on it. However, it remained an essential area for the chorus.
Acoustic and Structural Innovations:
Improved Acoustics: The design and materials used in construction were optimized to enhance acoustics, allowing voices to carry clearly to the upper tiers of seats.
Use of Parodoi: The parodoi (side entrances) were more clearly defined and structurally integrated into the theatre, facilitating the movement of the chorus and actors onto the stage.
4th Century BC
Mature Theatre Architecture:
Fully Stone Theatres: By the 4th century BC, theatres like Epidaurus and the Theatre of Dionysus had developed into sophisticated, permanent stone structures with extensive seating capacities.
Complex Stage Designs: The stage area (proskenion and logeion) was more elaborate, with intricate background designs and sometimes painted scenery to enhance the visual experience.
Audience Comfort and Capacity:
Larger Audiences: The capacity of theatres increased significantly, with some theatres accommodating up to 17,000 spectators, reflecting the growing popularity of theatrical performances.
Comfort Improvements: Stone seating with more ergonomic designs improved audience comfort.
In summary, the evolution from the 5th to the 4th century BC saw Greek theatres transition from temporary, simple wooden structures to large, complex stone edifices. These developments facilitated more elaborate performances, greater audience comfort, and enhanced acoustic properties, reflecting the growing sophistication of Greek theatre as both an art form and a communal experience.
What were origins of tragedy and how did it developed during the 5th century BC? Include your knowledge of its relationship to satyr-plays.
The origins of tragedy in ancient Greece and its development during the 5th century BC are deeply intertwined with religious, cultural, and social transformations. The evolution of tragedy was influenced by its connection to satyr-plays and the broader context of Dionysian worship.
Origins of Tragedy
Religious Roots:
Dionysian Festivals: The origins of tragedy are closely linked to the worship of Dionysus, the god of wine, fertility, and theatre. Early dramatic forms likely evolved from dithyrambs, choral hymns sung in honor of Dionysus. These choral performances featured stories from myth and were characterized by their emotional intensity and communal participation.
Ritualistic Elements: Tragedy evolved from these ritualistic elements, incorporating narrative and dramatic dialogue. The transformation from ritual to drama involved the gradual addition of actors who engaged in dialogue with the chorus, creating a more structured and theatrical form.
Early Development:
Thespis: Often considered the “father of tragedy,” Thespis is credited with introducing the first actor (hypokrites) who interacted with the chorus, marking the shift from purely choral performances to dialogue-driven drama. This innovation is traditionally dated to around 534 BC, during the Great Dionysia in Athens.
Aeschylus: Building on Thespis’ innovations, Aeschylus added a second actor, increasing the potential for dramatic conflict and interaction. His contributions laid the groundwork for the development of complex plot structures and character dynamics.
Development During the 5th Century BC
Aeschylus (c. 525/524 – c. 456/455 BC):
Innovations: Aeschylus is credited with adding a second actor, enhancing the possibilities for dialogue and dramatic tension. He also made significant use of elaborate costumes, masks, and scenery to enhance the visual spectacle.
Thematic Depth: His plays often explored profound themes such as justice, divine will, and human suffering. Aeschylus’ “Oresteia” trilogy is a prime example, examining themes of vengeance, justice, and societal order.
Sophocles (c. 497/496 – 406/405 BC):
Further Innovations: Sophocles introduced a third actor, which allowed for even more intricate plot development and character interaction. He also reduced the role of the chorus, making the narrative more focused on individual characters.
Character Development: Sophocles is known for his deep psychological insight and complex character portrayals. His plays, such as “Oedipus Rex” and “Antigone,” explore themes of fate, free will, and moral conflict.
Euripides (c. 480 – 406 BC):
Realism and Psychological Complexity: Euripides brought a new level of realism to Greek tragedy, depicting characters with psychological depth and exploring the human condition with empathy and critical insight. His plays often questioned traditional values and beliefs.
Innovative Use of Deus Ex Machina: Euripides frequently employed the deus ex machina (a god intervening to resolve the plot), highlighting the role of the divine in human affairs and the unpredictability of fate. Notable works include “Medea” and “The Bacchae.”
Relationship to Satyr-Plays
Origins and Characteristics:
Satyr-Plays: Satyr-plays were a form of comic relief that accompanied tragic trilogies in Greek festivals. Featuring a chorus of satyrs (mythological creatures associated with Dionysus), these plays were characterized by their bawdy humor, light-heartedness, and satirical treatment of mythological themes.
Structure: A typical dramatic presentation at the Dionysian festivals included three tragedies followed by a satyr-play. This structure provided a balance of serious and comic elements, ensuring a varied theatrical experience for the audience.
Contrast with Tragedy:
Tone and Content: While tragedies dealt with serious themes of human suffering, moral dilemmas, and the divine order, satyr-plays provided a humorous and often irreverent counterpoint. They mocked the same myths and heroes that tragedies treated with reverence, highlighting the absurdity and folly of gods and men alike.
Function: The inclusion of satyr-plays served to lighten the mood after the intense emotional experience of the tragedies. They also reaffirmed the connection to Dionysian worship, celebrating the god’s more playful and chaotic aspects.
Conclusion
The development of Greek tragedy during the 5th century BC was a dynamic process that involved significant innovations in dramatic structure, character portrayal, and thematic exploration. Aeschylus, Sophocles, and Euripides each contributed uniquely to the evolution of the genre, expanding its artistic and emotional range. Tragedy’s relationship to satyr-plays enriched the theatrical experience, providing a balanced blend of seriousness and humor that reflected the multifaceted nature of Dionysian worship and Athenian society. This interplay between tragedy and satyr-play underscores the importance of theatre as a space for both reflection and celebration in ancient Greece.
What were the contributions of Aeschylus, Sophocles and Euripides to tragedy?
Aeschylus (c. 525/524 – c. 456/455 BCE)
Introduction of the Second Actor:
Aeschylus is credited with adding a second actor to performances, which allowed for more complex interactions and dramatic dialogue. This innovation expanded the possibilities for plot development and character interaction.
Enhanced Use of the Chorus:
While the chorus remained an integral part of Greek tragedy, Aeschylus utilized it not just for narrative and commentary, but also as a moral and thematic anchor, bridging the divine and human elements of his stories.
Elaborate Costumes and Scenic Elements:
Aeschylus is known for his introduction of elaborate costumes and the use of scenery to enhance the dramatic effect. This contributed to the visual and emotional impact of his plays.
Thematic Depth:
His works often explored profound themes such as justice, divine intervention, and human suffering. Notable works include “The Oresteia” trilogy, which examines themes of justice, revenge, and the evolution of social order.
Sophocles (c. 497/496 – 406/405 BCE)
Introduction of the Third Actor:
Sophocles introduced a third actor to the stage, further increasing the potential for complex storytelling and character dynamics. This allowed for more intricate plots and richer character development.
Focus on Character and Psychological Complexity:
Sophocles placed a stronger emphasis on individual characters and their psychological motivations. His characters often faced intense moral dilemmas and internal conflicts. This approach added depth to the narrative and made the characters more relatable and human.
Refinement of Dramatic Structure:
He refined the structure of the play, creating a more cohesive and balanced form. Sophocles was known for his mastery of dramatic irony and his ability to build tension through well-structured plots.
Thematic Exploration of Fate and Free Will:
His plays often explored the tension between fate and free will, highlighting the inevitable suffering that results from human flaws and the inscrutable will of the gods. Notable works include “Oedipus Rex,” which examines fate, identity, and guilt, and “Antigone,” which explores themes of state versus individual conscience.
Euripides (c. 480 – 406 BCE)
Realistic Portrayal of Characters:
Euripides is known for his realistic and often controversial portrayal of characters. He depicted gods and heroes as flawed and complex beings, challenging traditional views and highlighting the human condition.
Focus on Women and Marginalized Characters:
Euripides gave significant attention to female characters and those on the margins of society, exploring their struggles and emotions with empathy and depth. His plays often questioned societal norms and values. Examples include “Medea,” which delves into the psyche of a woman scorned, and “The Trojan Women,” which highlights the suffering of women during wartime.
Challenging Traditional Morality and Religion:
He often questioned traditional religious beliefs and moral values, presenting a more skeptical and questioning view of the gods and fate. His works reflect a more human-centered perspective, emphasizing rationality and critical thinking.
Innovative Use of Deus Ex Machina:
Euripides frequently used the “deus ex machina” (god from the machine) technique, where a god or unexpected event resolves the plot. While sometimes criticized for this device, it also underscored his themes of divine intervention and the unpredictability of life.
Emphasis on Emotional and Psychological Drama:
His plays often focused on the emotional and psychological aspects of his characters, making his tragedies more personal and relatable. This psychological depth allowed audiences to engage more deeply with the characters’ experiences.
How were the use of masks, costumes and props shown in ancient Greek plays?
Masks
Function and Purpose:
Character Differentiation: Masks allowed actors to play multiple roles, including characters of different genders, ages, and social statuses. This was crucial since all actors were male.
Exaggeration and Expression: The exaggerated features of masks (large eyes, mouths, and distinct expressions) helped convey the emotions and personalities of characters, making it easier for the audience to understand the narrative from a distance.
Design:
Masks were typically made of lightweight materials like linen, wood, or cork, and were painted to reflect different characters and emotions.
Tragic masks had more serious and somber expressions, while comic masks were often grotesque and exaggerated to heighten the humor.
Symbolism and Themes:
Masks often represented archetypal figures and conveyed symbolic meanings, aligning with the themes and moral messages of the plays.
Costumes
Function and Purpose:
Costumes helped to establish the identity, status, and role of a character, providing visual clues about their background and the context of the story.
They also contributed to the aesthetic and dramatic effect, helping to create a visual spectacle that was engaging for the audience.
Design:
Tragedy: Costumes in tragedies were usually elaborate and elegant, consisting of long robes (chitons) and cloaks (himation). These garments were often richly decorated and colored to denote high status or nobility.
Comedy: Costumes in comedies were more exaggerated and colorful, often including padded bodies to create humorous, exaggerated physiques. Phallic props were also common in comedic performances.
Role-Specific Costumes:
Certain roles had distinctive costumes. For example, gods and heroes were depicted in ornate and impressive attire, while everyday characters wore simpler costumes.
Props
Function and Purpose:
Props were used to enhance the storytelling, providing physical objects that actors could interact with to advance the plot and add realism to the performance.
They also helped to symbolize key elements of the story, reinforcing themes and dramatic moments.
Types of Props:
Common props included swords, shields, crowns, scepters, and other items relevant to the narrative context.
In tragedies, props were often used to symbolize power, conflict, and resolution, while in comedies, they were used to create humor and satirical effects.
Innovative Use:
Some plays featured special effects and machinery, such as the mechane (a crane used to lift actors, often representing gods) and the ekkyklema (a wheeled platform used to bring interior scenes into view, especially to display scenes of violence or death).
Overall Impact
The use of masks, costumes, and props in ancient Greek theatre played a crucial role in creating a vivid and immersive experience for the audience. These elements:
Enhanced the Narrative: By visually defining characters and their emotions, they helped to convey complex stories and themes effectively.
Engaged the Audience: The visual spectacle of costumes and props, combined with the expressive power of masks, captivated the audience and heightened their emotional involvement.
Symbolized Themes: Through their symbolic use, these theatrical elements reinforced the moral and thematic messages of the plays, contributing to the educational and reflective aspects of Greek theatre.
These artistic conventions were essential in making ancient Greek theatre a powerful medium for storytelling, cultural expression, and communal experience.
What were Aristotle’s theories about tragedy, including peripeteia (reversal of fortune), hamartia (tragic mistake), catharsis (purging of emotions) ?
Key Theories in Aristotle’s “Poetics”
Definition of Tragedy:
Aristotle defines tragedy as “an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper purgation of these emotions” (Poetics, Chapter 6).
Peripeteia (Reversal of Fortune)
Definition:
Peripeteia is the sudden reversal of fortune in the protagonist’s circumstances. It is a pivotal turning point where the character’s situation changes from good to bad or vice versa, often leading to an unexpected outcome.
Function:
This reversal is essential for the dramatic tension and emotional impact of the tragedy. It underscores the unpredictability of human life and the influence of fate.
It is closely tied to the protagonist’s hamartia, as the reversal often results from the character’s own actions or mistakes.
Hamartia (Tragic Mistake)
Definition:
Hamartia refers to the protagonist’s tragic flaw or error in judgment, which leads to their downfall. It is not necessarily a moral flaw but can be an inherent characteristic or a specific mistake.
Function:
The concept of hamartia emphasizes the protagonist’s humanity and fallibility. It evokes the audience’s empathy, as the character’s downfall is both understandable and relatable.
Aristotle believed that the protagonist should be neither entirely good nor entirely evil but a mixture of both, making their hamartia a believable cause of their misfortune.
Catharsis (Purging of Emotions)
Definition:
Catharsis is the emotional cleansing or purging that the audience experiences as a result of the tragic events. Aristotle believed that tragedy should evoke pity and fear, and through these emotions, the audience undergoes a cathartic experience.
Function:
Catharsis serves to balance and regulate the emotions of the audience. By experiencing pity for the protagonist’s suffering and fear of similar fates, the audience can release pent-up emotions and achieve a sense of emotional equilibrium.
This purging of emotions is seen as beneficial, providing moral and psychological relief and contributing to the overall moral and social function of tragedy.
Structure of Tragedy
Plot (Mythos):
Aristotle considered the plot to be the most important element of tragedy. It should be a cohesive and unified sequence of events, with a clear beginning, middle, and end.
A well-constructed plot involves a cause-and-effect chain leading to the peripeteia and anagnorisis (recognition or discovery), culminating in the catastrophe (final resolution).
Character (Ethos):
Characters should be well-defined and consistent, with the protagonist exhibiting both virtues and flaws. Their actions and decisions drive the plot and lead to the peripeteia and eventual downfall.
Thought (Dianoia):
Thought refers to the themes, messages, and moral lessons conveyed through the dialogue and actions. It includes the underlying philosophical and ethical questions explored in the play.
Diction (Lexis):
Diction involves the choice of language and style, which should be appropriate to the characters and the plot. It encompasses the use of metaphors, symbols, and rhetorical devices.
Melody (Melos) and Spectacle (Opsis):
Melody pertains to the musical elements of the tragedy, including the chorus, which should enhance the emotional and dramatic effect.
Spectacle refers to the visual aspects, such as set design, costumes, and staging. While important, Aristotle considered it less crucial than plot and character.
Conclusion
Aristotle’s theories about tragedy, encapsulated in the concepts of peripeteia, hamartia, and catharsis, highlight the intricate interplay between plot, character, and emotional impact. These ideas have profoundly influenced the understanding and creation of tragic drama, emphasizing the importance of structure, character development, and the emotional journey of the audience. Through these mechanisms, tragedy achieves its purpose of provoking thought, evoking deep emotions, and ultimately providing a cathartic experience.
City Dionysia?
Great Dionysia, ancient dramatic festival in which tragedy, comedy, and satyric drama originated; it was held in Athens in March in honour of Dionysus, the god of wine. Tragedy of some form, probably chiefly the chanting of choral lyrics, was introduced by the tyrant Peisistratus when he refounded the festival (534/531 BC), but the earliest tragedy that survives, Aeschylus’ Persai, dates from 472.
The festivals were attended by all Athenian citizens (likely women as well as men) and visitors from throughout Greece. In the tragic competition, each of three tragic poets wrote, produced, and probably acted in three tragedies on a single theme. Each poet also presented a satyr play, which treated some heroic subject in burlesque fashion. Judges, chosen by lot, awarded a prize to the best poet. In comedy, introduced in 486, five poets competed for the prize, each with one play. The satyr play was always the work of a tragic poet, and the same poet never wrote both tragedies and comedies.
