related to the subject Classics & Drama

3.  Theatron: literally, the
“watching place”
 Orchestra: literally, the
“dancing place”
 Skene: “scene,” or
backdrop

4.  Daylight
 Class issues
 Women
 Comfort
 Sound effects

5.  Challenges:
Size
Distance from
audience
Holding interest

6. Behind orchestra
Served as
backdrop, house
Decorative in
later years
Holds mechane

7.  Parodos:Parodos: passageways (pl.paradoi)passageways (pl.paradoi)
 Ekkykleme:Ekkykleme: “the thing that rolls”“the thing that rolls”
 the small wagon platform, was wheeledthe small wagon platform, was wheeled
in to show a corpse to the audience.in to show a corpse to the audience.
 All killing had to occur off stage and beAll killing had to occur off stage and be
reported to the audience by the chorus orreported to the audience by the chorus or
a messenger.a messenger.
 MechaneMechane: crane used for special: crane used for special
effecteffect

9.  The mechane was a large crane which could swing a platform
containing one or more actors from behind the stage building up over
the heads of the actors and chorus, creating the illusion of flying.
The earliest known use of this device was in Euripdes’ Medea (431
BCE), when Medea flew off with the bodies of her children in a
dragon-chariot supplied by the sun-god. The Latin expression deus
ex machina (“the god from the crane”) refers to inferior
playwrights’ practice of suddenly having a god fly in to resolve all
the difficulties of the plot, but clever dramatists could use the crane
very effectively without marring the unity of their plays, as indeed
Euripides did in Medea.

 Note:
1. Gods who intervene in fifth century tragedies probably appeared
through a trap-door on the roof of the skene to address mortals from
a higher level.

10.  Staging was accomplished
simply with the use of pinakes,
or scenery painted on boards
and placed against the skene.
 Also periaktois, triangular
prisms, that could be revolved
for scenery changes.
 Properties were also used.
 Drums were sounded for
thunder.

11. …In an
amphitheatre
…With a
chorus who
described
most of the
action.
…With masks

12. • The theater of ancient Greece, flourished between c.The theater of ancient Greece, flourished between c.
550 and c. 220 BCE.550 and c. 220 BCE.
• The city-state of Athens, was it’s centre.The city-state of Athens, was it’s centre.
• It was part of a festival called the Dionysia, whichIt was part of a festival called the Dionysia, which
honored the god Dionysus, the Greek god of wine andhonored the god Dionysus, the Greek god of wine and
revelry with altars generally on stage.revelry with altars generally on stage.
• Banks would shut down for days, people would travelBanks would shut down for days, people would travel
from all around to see the drama competitions—evenfrom all around to see the drama competitions—even
prisoners were temporarily released to see the playsprisoners were temporarily released to see the plays
• TragedyTragedy means “goat song” (relates to Dionysianmeans “goat song” (relates to Dionysian
sacrificial rituals)sacrificial rituals)

15.  The chorus was
trained and
costumed at state
expense through a
choregos (a
wealthy citizen)
who chose this
job as his way of
paying taxes and
raising his
standing in the
community.

16.  Members of the chorus
were chosen from the
general population.
 Chorus members were
unpaid volunteers doing
their civic duty.
 The rehearsal period for
a chorus was likely four
months or more.

17. • DRAMA: a literary composition
written to be performed by actors
• central character called a tragic
protagonist or hero suffers some
serious misfortune
• the misfortune is logically connected
with the hero's actions.

18. The modern word “drama”
comes from the Greek
word drandran meaning "to do”
 The Greeks understood
the role of action in plays.

19.  Comedy
 Tragedy
 Satyr
 Comedy and tragedy were the
most popular types of plays in
ancient Greece. Hence, the
modern popularity of the
comedy and tragedy masks to
symbolize theatre.

20.  The word “comedy” comes from the Greek
word “komos” which means “band of
revelers.”

21.  These were short plays performed between
the acts of tragedies. They made fun of the
plight of the tragedy's characters.
 The satyrs were mythical half-human, half-
goat servants of Dionysus.
 They served the function of comic relief.

22. The Satyr and the Satyr
plays spawned the
modern word “satire”.

24.  used a chorus
 The choric dithyrambs (choral songs) were
originally about the death and resurrection of
Dionysus (the god of wine and revelry).
 Chorus reflects what the audience is thinking
 “color commentary”
 Provides background and spectacle

25.  The first function of the chorus was
as narrator (telling stories, providing
information).
 to bridge the gap between the audience and the players by
making responses and asking questions
 to intensify the emotion and establish a lyric mood through
rhythmic chanting and dance
 to maintain a sense of ceremony and ritual

26.  The chorus could punctuate theThe chorus could punctuate the
action of a play with bursts ofaction of a play with bursts of
song and dance, which enlargedsong and dance, which enlarged
the dramatic action and relievedthe dramatic action and relieved
tension.tension.
 Instruments used to accompanyInstruments used to accompany
choric songs and dances includedchoric songs and dances included
flutes, lyres, horns, drums, andflutes, lyres, horns, drums, and
bells.bells.
 TheThe ‘‘ParadosParados’’ (chorus entrance)(chorus entrance)
marks the beginning of the play,marks the beginning of the play,
and theand the exodusexodus (its exit) the(its exit) the
ending.ending.
 SingingSinging
 DancingDancing
 StropheStrophe
 AntistropheAntistrophe

27.  As the number of
actors increased from
one to three, the size
of the chorus, which
originally numbered
50, was reduced.
 12-15 men

28.  The Chorus could play
the worshipers of a God,
or as in Oedipus, the
villagers and Theban
elders (town leaders).

29.  The modern word “thespian”
comes from the name Thespis,
the first actor credited with
separating from the chorus to
hold a call and response with
them.

30.  Choruses did not rehearse in the theatres,
they probably rehearsed in a closed room
so that the spectators would not see the
drama before the performance.
 Early dramatists (Aeschylus and probably
Sophocles and Euripides) taught their own
choruses.

31.  Consisted of standard Greek attire
 Chiton: a sleeveless tunic belted below the breast
 the himation: draped around the right shoulder
 the chlamys, or short cloak, worn over the left
shoulder
 elaborately embroidered patterns
 Masks were used.
 If playing a female role, the male actor in want of a
female appearance wore the prosternida before the
chest and the progastrida before the belly

32.  3 Actors, all men
 Elaborate gestures,
“over-acting”
 Women were not
allowed to
participate.

34.  to masks bring the characters' face
closer to the audience.
 to enable an actor to play in several
different roles,
 to help the audience to distinguish sex,
age, and social status, in addition to
revealing a change in a particular
character’s emotions and appearance.
 a mask—called a “persona”
 Masks contained “megaphone” to
amplify their voices

35.  Another adaptation that the Greeks' developed for
their theatre masks were special mouths that acted
like megaphones to amplify their voice for everyone
in the huge theatre to hear.

36. Actors wore masks with exaggerated facial features
and expressions to make it easy for all viewers to identify a
particular character because theatres were very large.

37.  Greek actors originally started wearing masks
that were very human like that just covered
part of the face
 Eventually with the increase in theatre size
the mask changed as well
 The mask then began to cover the whole
head and resembled legends from Greek
mythology not humans

38.  usually made by the people thatusually made by the people that
who wore them in the playwho wore them in the play
 from consisted of cloth, leather,from consisted of cloth, leather,
and wood with animal hair andand wood with animal hair and
painted or died different colorspainted or died different colors
with flowers and other plantswith flowers and other plants
attached to them.attached to them.
 Famous actors in bigger plays mayFamous actors in bigger plays may
have had jewels and other ornatehave had jewels and other ornate
items placed on their masksitems placed on their masks

39. Aeschylus
Sophocles
Euripides
Aristophanes
Menander

40.  Son of wealthy Athenian
merchant
 Lived during golden age
of Athens
Center of democracy
 Important figure in
society
Becomes cultural
spokesperson
Noted playwright
Wrote primarily tragedies
Witnessed decline of
Athens
 495 B.C.E. :Born in
Colonus, in Attica
 441: Writes
Antigone
 431-404:
Peloponnesian
War (Athens v.
Sparta)
 429: Writes
Oedipus Rex
 406: Sophocles
dies

41.  Delphic Oracle, prophecy
 Corinth and Thebes
 Sphinx riddle
 Self-punishment
 Children: Eteocles,
Polyneices, Ismene,
Antigone

42. • Sphinx's riddle: "What is the creature that walks on four legs in
the morning, two legs at noon and three in the evening?"
• To this Oedipus answered "Man”.
• Oedipus's name means "swollen foot”. His ankles were pinned as a
baby. Here is the baby of which the Sphinx speaks, crawling on
four feet.
• Oedipus the adult man, standing on his own two feet.
• Oedipus will leave Thebes an old blind man, using a cane.
• Oedipus himself proves to be that same man, an embodiment of
the Sphinx's riddle.
• Oedipus is solver of the Sphinx's riddle, and the answer.

44. 1.1. The play begins years after Oedipus isThe play begins years after Oedipus is
given the throne of Thebes.given the throne of Thebes.
2.2. The chorus of Thebans cries out to OedipusThe chorus of Thebans cries out to Oedipus
for salvation from the plague sent by thefor salvation from the plague sent by the
gods in response to Laius' murder.gods in response to Laius' murder.
3.3. The blind prophet, Teiresias, is called toThe blind prophet, Teiresias, is called to
aid Oedipus in his search; He warnsaid Oedipus in his search; He warns
Oedipus not to follow through with theOedipus not to follow through with the
investigation.investigation.
4.4. Oedipus accuses him of being theOedipus accuses him of being the
murderer, even though Teiresias is blindmurderer, even though Teiresias is blind
and aged.and aged.
5.5. Oedipus promises to exile the manOedipus promises to exile the man
responsible for it.responsible for it.
6.6. Oedipus accuses Teiresias of conspiringOedipus accuses Teiresias of conspiring
with Creon, Jocasta's brother, towith Creon, Jocasta's brother, to
overthrow him.overthrow him.
7.7. Oedipus calls for one of Laius' formerOedipus calls for one of Laius' former
servants, the only surviving witness of theservants, the only surviving witness of the
murder, who fled the city when Oedipusmurder, who fled the city when Oedipus
became king to avoid being the one tobecame king to avoid being the one to
reveal the truth.reveal the truth.
1.1. A messenger from Corinth alsoA messenger from Corinth also
arrives to inform Oedipus of thearrives to inform Oedipus of the
death of Polybus, whomdeath of Polybus, whom OedipusOedipus
still believes is his real father.still believes is his real father.
2.2. The messenger informs him that heThe messenger informs him that he
was in fact adopted and his realwas in fact adopted and his real
parentage is unknown.parentage is unknown.
3.3. In the subsequent discussions JocastaIn the subsequent discussions Jocasta
guesses the truth and runs away.guesses the truth and runs away.
4.4. Oedipus is stubbornOedipus is stubborn
5.5. A 2A 2ndnd
messenger arrives and revealsmessenger arrives and reveals
that Jocasta has hanged herselfthat Jocasta has hanged herself
6.6. Oedipus, upon discovering herOedipus, upon discovering her
body, blinds himself with the goldenbody, blinds himself with the golden
brooches on her dress.brooches on her dress.
7.7. The play ends with OedipusThe play ends with Oedipus
entrusting his children to Creon andentrusting his children to Creon and
leaving in exile, as he promisedleaving in exile, as he promised
would be the fate of Laius' murderer.would be the fate of Laius' murderer.

45. 1. Story revolves around two different unsuccessful
attempts to change the course of fate:
1. Jocasta and Laius's killing of Oedipus at birth and
2. Oedipus's flight from Corinth later on.
2. Jocasta kills her son only to find him married to
her.
3. Oedipus leaves Corinth only to find that he has
carried out the oracle's words.

46. Oedipus counts on his own ability
not the gods.
The irony is, of course, that the
oracles and Oedipus's reasoning
lead to the same outcome.
Oedipus is a thinker. His
intelligence is what makes him
great, yet it is also what makes him
tragic.
Marriage to Jocasta and ruling
Thebes was the prize for ridding
Thebes of the Sphinx. Oedipus's
intelligence, a trait that brings him
closer to the gods, is what causes
him to commit the most terrible of
all sins.
In killing the Sphinx, Oedipus is the
city's savior, but in killing Laius (and
marrying Jocasta), he is cause of the
plague that has struck the city at the
play's opening.
Sight here means two different things.
Oedipus is blessed with perception. But
he is blind to the truth, for all he seeks
it.
Oedipus is human and we recognize
this in his agonizing reaction to his sin.
 Watching this, the audience is moved
to both pity and fear: pity for this
broken man, and fear that his tragedy
could be our own. Watching this tragedy
gives us the audience a sense of
purging. This is the catharsis which
Aristotle spoke of.

47. The Six Aspects of TragedyThe Six Aspects of Tragedy
1.1. PLOTPLOT
2.2. CHARACTERCHARACTER
3.3. SPECTACLESPECTACLE
4.4. SONGSONG
5.5. DICTIONDICTION
6.6. THOUGHTTHOUGHT
From Aristotle’sFrom Aristotle’s PoeticsPoetics
**

48. 1. PLOT: Plot is the way the incidents are
presented to the audience
• Must be “whole” –beginning/ middle and end
• Incentive moment- begins cause and effect
• Climax
• resolution
• Must be complete and have “unity of action”
• No “deus ex machina”
• No “episodic plots”
• Plot can be simple or complex
• Catastrophe (cata/strophe): change in fortune
• Perepetia: a reversal
• Anagnorisis: recognition

49. Plot Diagram/Plot Diagram/
Freytag’s PyramiDFreytag’s PyramiD

50. 2. CHARACTER
• Personal motivations connected to cause/ effect aspect
of plot
• Protagonist should be renowned and prosperous
change from good to bad
• Hubris – arrogance, overconfidence
• Hamartia: a tragic flaw
• Characters should have the following qualities:
• Good or fine
• Fitness of character
• True to life
• Consistency
• Necessary or probable
• Idealized/ ennobled

51. 1. He must be a man who is superior to the average man
in some way.
1. Oedipus is smart he is the only person who could solve the Sphinx's
riddle.
2. Must evoke both pity and fear, must be a character
with a mixture of good and evil. Oedipus is a hero
with a violent streak, clever man, but is blind to the
truth.
3. Hamartia, often translated as "tragic flaw" but really
means "error in judgement.”
4. Dramatic irony The audience knows the outcome of
the story already, but the hero does not, making his
actions seem ignorant or inappropriate in the face of
what is to come.

52. 3. THOUGHT
• Reference to theme
4. DICTION
• Word choice is proper and appropriate
• Emphasis on style and use of literary devices
(metaphor)
5. SONG
• Musical element of the play
• Use of the chorus
6. SPECTACLE
* Production for effect

53. Antigone
• Antigone, had the
better judgment, and
Ismene with all the
good intentions.
• They were both two
extraordinary women
that went through a
lot together despite
their differences.

54.  Eteocles and Polyneices
The princes who had
refused to share their
inheritance shared
death instead