1. Greek Drama Background All you need to know to confidently analyze the theatre that began the western traditions which brought us Hair, Grease, and Mamma Mia!

2. Origins of Greek Drama Originally a ceremony of state religions—plays produced only at religious festivals Dionysus Greater Dionysia Six-day religious festival honoring Dionysus, god of wine, revelry, fertility, and song (Roman Bacchus, god of vegetation) at the end of each season, 4 major festivals. The greatest of these was in spring “Greater Dionysia”

3. Schedule for Original Greek Drama Days one through three—one long parade or religious procession, followed by many holy sacrifices, choral singing contests, etc. tetralogy Three days of drama—tragedy, tragedy, tragedy, comedy / Drama was foremost at the event at the festivals. Each day a tragic poet presented his tetralogy (set of four total plays: three tragedies, and one Satyr play). Each afternoon there was also a comic poet’s play.

4. Details about the Original Greek Theater The playwright was director, coach, and often actor as well. Last day was grand judging of the plays and awarding of prizes Laurel Wreaths The winner of the festivals received Laurel Wreaths as an award of honors (Hence, “don’t rest on your laurels!”)

5. Origins of Greek Drama The winner of the early tragedy competitions were awarded a “tragos” or as you know it, a goat. Tragedy The origin of the word Tragedy is “tragoedia” meaning “goat song” Cost of the plays and prize money was borne by wealthy citizens chosen by the city-state

6. Origins of Greek Drama Theatre was a public event—large crowd, country people, foreigners, even slaves (they were released for the festivities)— 14,000 to 25,000 spectators

7. Setting the stage

8. Setting the Stage amphitheater orchestra Scene of drama is outdoor (amphitheater), on hillsides to permit seeing and hearing. There was no stage, the actors performed in front of a staged building, which represented a palace or temple. Between the actors and the audience was the dancing circle or “orchestra,” in the centre of which stood the altar to Dionysus which was a reminder of the religious nature of the play.

9. Setting the Stage There were no artificial lights, so performances began at sunrise. The best surviving example of these first theatres is the theatre at Epidaurus. The Athens Theatre, near the southeast foot of the Acropolis, could accommodate about 14,000 spectators.

10. Setting the Stage Interior scenes or events taking place away from the scene of the action could not be shown. They are revealed to the audience through the Eccyclema (ek’ee klaim’a) (In classical Greek theatre, stage mechanism consisting of a low platform that rolled on wheels or revolved on an axis and could be pushed onstage to reveal an interior or some offstage scene such as a tableau. It was introduced to the Attic stage in the 5th century to provide directors a means for clarifying the action.

11. Violence on the Stage Because violence was prohibited from the Greek stage, it is thought by some that murdered bodies may have been displayed on the device. The eccyclema was used mainly in tragedy but was occasionally employed in comedy. In the Acharnians by Aristophanes, for example, a character representing the playwright Euripides is reluctant to leave his house until Dicaeopolis, who wants to borrow a costume, brings him the “scene shifter” to wheel him onstage surrounded by costumes.

12. Violence on the Stage After violence was no longer proscribed onstage, the eccyclema still served as a scene-shifting device, eventually giving rise to modern turntables and other revolving stage mechanisms.), or reported by a messenger. No violence portrayed before the audience, because of the religious association of the theatre (there are, however, some exceptions)

13. Setting the Stage skene On the far side of the orchestra was the stage building, or skene (meaning “tent”). This was a covered structure, originally a temporary wooden building, where the actors stored their masks and costumes and performed quick changes out of the sight of the audience. We know very little about the skene in the fifth century; however, there seems to have been some type of stage building by the time Aeschylus’ Oresteia was first produced (458 BCE), since these plays require central doors and an upper platform (the “roof” on which the watchman appears). The wooden stage buildings of the fifth century were replaced by more permanent stone structures in the fourth century

14. How Does it End? Deus ex machina (day us ex ma kahna) “God from the machine.” A crane suspended from the top of the building to raise and lower flying figures and to introduce and remove gods. Deus ex machina was employed to give a formal miraculous conclusion to the tragedy. The god appeared to come from on high, in the form of a dummy suspended from the machine, to unravel all the unsolved problems of the play.

15. The Mechanics of the Theater

16. Gods say what? Deus ex machina In the modern sense, Deus ex machina refers to the intervention of any deity in the conflict of a drama in order to speed the resolution. It is also used to refer to any supernatural intervention in conflict resolution. Artistotle was not a fan of this technique— he believed that the gods should be outside commentators, not a part of the plot.

17. The Three Unities of Greek Drama Unity of action—concentration of the single action with no irrelevancies or subplots employed (this is the only one adhered to by tragedians)

18. The Three Unities of Greek Drama Unity of time —time period of action no more than 24 hours

19. The Three Unities of Greek Drama place Unity of place —one unchanged scene throughout the play (Periaktoi: a triangle that has three different scenes. One on each side. ) Periaktoi

20. Other Details about Greek Theater Poetic form always employed No curtain or intermission None of this stuff.

21. What did they say? Stichomythia Stichomythia (Stik a mythia) Dialogue especially of altercation or dispute rapidly delivered by two actors in alternating lines Etymology: 1. from stichomythein: to speak dialogue in alternate lines, 2. from stichos: row, verse + mythos speech, myth; akin to Greek steichein to walk, go.

22. Hey, haven’t I heard that story before? Since plots were usually well-known myths, the audience knew the plot before the play began. So the play was about the instruction of the play, the spectacle as a whole and the dramatic irony. Aristotle’s technical sense: poetry is imitation (mimêsis).

23. Chorus: “Take it away boys!” Earliest form of festival were folk- processions—chorus of about 50 men dressed as satyrs (in goatskins, Chothurnis, or chitons)—singing hymns of praise to Dionysius. Dithyrambs These “Dithyrambs” originated around 7th century B. C. Often the hymns were humorous and told of the god’s adventures—satyr-dramas

24. Chorus: “Take it away boys!” In 534 BC in the excitement of telling stories, one of the members of the chorus stood apart and played the role of the god, singing lines in answer to the verses of the chorus His name was Thespis—which is where the term thespian originated Actors called “Hypocrites” answered back. This changed the role of the chorus and initiated a shift away from stories solely about Dionysus.

25. Function of the Chorus Beauty of poetry and dancing Mood and central themes of drama— chorus interprets events, generalizes meaning of the action The “ideal spectator”—bridge between the players and the audience.

26. Function of the Chorus Relieves tension Often converses with and gives advice to the actors Gives background, informing audience of preceding events The leader of the chorus has a special importance, often acting as spokesman for the group. Modern Choruses include women.

27. Drama is… Meant to be seen or performed, not read. Becomes a play when it is acted out.

28. Drama has… Elements just like a novel or a short story: plot, characters, setting, and theme. Modern Drama also contains different elements: lighting, sets, props, etc.

29. Drama has… Stage Direction Stage Direction is what we call the writing that tells actors where to move and the behind the scenes people what to do.

30. Drama has Peripeteia A reversal of circumstances or turning point, sudden change of events.

31. Drama has CharacterFoils Drama has Character Foils contrast Is a character that highlights or brings out the personality traits of another character, and the contrast serves to emphasize the other character’s traits.

32. Drama has Anagnorisis (an-ag-NOR-uh-sis) The recognition by the tragic hero of some truth about his or her nature, identity, or actions that accompanies the peripeteia. This is the beginning of the dénouement (any action after the conflict is resolved).

33. I’m hearing voices… Monologue Monologue is a speech in which one character is talking, but there are other characters on stage. Poor guy. His monologue was over when the others left the stage. 

34. I’m hearing voices… Soliloquy Soliloquy is a speech in which one character is alone on stage expressing his/her thoughts to the audience. Hamlet’s “To be, or not to be” speech is a pretty famous soliloguy

35. I’m hearing voices… Dialogue is conversation between characters.

36. Comedy is… A type of drama where the hero overcomes his flaws and triumphs in the end.

37. What is Tragedy? Poetics Aristotle's ideas about tragedy were recorded in his book of literary theory titled Poetics. In it, he has a great deal to say about the structure, purpose, and intended effect of tragedy. His ideas have been adopted, disputed, expanded, and discussed for several centuries now. The following is a summary of his basic ideas regarding the tragic hero:

38. Greek Heroes Share More Than Fame... Greek Hero Structure The Greek nobility valued strength and skill, for these attributes enabled the person who possessed them to achieve glory and honor, both in his lifetime and after he died. This value is known as Arête.

39. Hero Structure: What's wrong with being great???? Arête = striving for excellence: Strength, skill, courage, intelligence, insight, ingenuity: Be the best of the best. What is the danger of Arête?

40. Hero Structure: What was the danger of Arête Again? The hero forgets his human limitations and thinks he’s greater than he actually is… Which leads to… Hubris = excessive pride. What is the danger of hubris?

41. Hero Structure: What is the big danger of hubris? Hero does / says something excessive without thinking of the consequences… Which leads to… Até = blind, rash behavior. Até leads to…

42. Hero Structure: What the heck could Até possibly do? I know... It could bring Nemesis=retribution: Gods punish hero directly or other humans punish him. Either way the hero brought his fate upon himself through free-will.

43. So What do Greek Heroes Have in Common? 1. A fundamental belief in freedom

44. Greek Heroes, cont. 2. A supreme pride (hubris) The tragic hero is a character of noble stature and has greatness. This should be readily evident in the play. The character must occupy a "high" status position but must ALSO embody nobility and virtue as part of his/her innate character.

45. Greek Heroes, cont. 3. Capacity for suffering The hero's misfortunate is not wholly deserved, and is more severe than his crime.

46. Greek Heroes, cont. 4. Strong sense of commitment

47. 5. Not too good/ too bad. Though the tragic hero is pre- eminently great, he/she is not perfect. Otherwise, the rest of us- -mere mortals--would be unable to identify with the tragic hero. We should see in him or her someone who is essentially like us, although perhaps elevated to a higher position in society.

48. Greek Heroes, cont. 6. Flaw “Hamartia” (term used in archery to mean, “near miss”) Often the character's hamartia involves hubris (defined previously as a sort of arrogant pride or over- confidence).

49. Greek Heroes, cont. 7. Vigorous protest of limitations, fate, or any reality that doesn't quite fit into the hero's plan.

50. Greek Heroes, cont. 8. At some point every hero undergoes a major Transformation as a result of his conflicts and fate. This is called the “Fall.”

51. Greek Heroes, cont. 9. After the Transformation, the hero experiences some impact (understanding). In other words, the light bulb goes off. So the Fall wasn't all bad, he gains wisdom and knowlege that he never would have gotten otherwise. Even if he doesn’t live long enough to apply it.

52. Greek Heroes, cont. 10. The hero, at least partially, chooses his/her fate.

53. Greek Heroes, cont. The hero's downfall, therefore, is partially her/his own fault, the result of free choice, not of accident or villainy or some overriding, malignant fate. In fact, the tragedy is usually triggered by some error of judgment or some character flaw that contributes to the hero's lack of perfection noted above.

54. Greek Heroes, cont. This error of judgment or character flaw is known as hamartia and is usually translated as "tragic flaw" (although some scholars argue that this is a mistranslation).

55. Tragedy is it all bad? Even in tragedies, there is usually some comedy.

56. Major Players in the Theatre Euripides (yur-rip’-ah-deez) (480-406 B.C.) used many actors in his tragedies.

57. Major Players in the Theatre Aristophanes (Air- ra-stof’-a-knees) (448-380 B.C.)had essentially eliminated the focus on the chorus and it had been reduced to a small line-up that sang reactions to actions of the hero.

59. Major Players in the Theatre Aeschylus Aeschylus, (“S’”-kah- lus)(526-455 B. C.) who wrote at least 80 plays in his career introduced a second actor into the theater.

61. Major Players in the Theatre Sophocles (497-406 B. C.) increased the number of actors to three. Increased the number of chorus members to fifteen. Was first to introduce scene painting.

62. Sophocles Sophocles lived during the time of the highest cultural achievement in Athens. He was well educated. He founded a society for music and literature. In a 60-year period, he composed 123 plays (only seven survive in their entirety). So popular that when he first competed, military had to be posted for security. His career paralleled the rise and fall of the Athenian Empire. He won the first festival of Dionysis in which he competed – defeated Aescylus. Won approximately 20 times. Never won third place.

63. Sophocles Child prodigy in the humanities. Acted in his own plays, but quietly. He was a priest of Alcon & Asclepius () Close friend of Pericles (Ruler of 5th century Athens) Political connections made their way into his plays A LOT.

64. Sophocles Born and was raised in Colonus (setting of Oedipus at Colonus) Father very wealthy. Married to Nicostrata, but he had, like all Greeks, some men on the side. Son, Iophon, took him to court for being senile. He recited Oedipus at Colonus to prove sanity.

67. Historical Perspective on Sophocles: Out of Sophocles’ drama came many of the precepts of Aristotle’s Poetics (One hundred years later) Tragedy (as defined in The Poetics) catharsis tragic vision. The imitation of an action that is serious in itself, with incidents arousing pity and fear, for the purpose of effecting catharsis (literally means a cleansing) (Kartharsis) also called the tragic vision.

68. Oedipus Rex Written between 430 and 415 B.C Author: Sophocles 497-406 B.C.

69. Themes in Oedipus Rex Man must accept the responsibility for his acts and their consequences regardless of his motives and inability to control the forces.

70. Themes in Oedipus Rex Intellectual pride leads to punishments and one must assume personal responsibility for suffering.

71. Themes in Oedipus Rex Man in search of himself tries to assert this freedom in spite of dominance of the gods. The only way to free himself from the forces of the gods is through self- knowledge.

72. Themes in Oedipus Rex One must question. The blinding is an assertion of personal freedom and self- knowledge. This frees him from the gods.

73. Paradox in Oedipus Rex King – Polluted Pariah Hides – reveals guilt Fated – willed Wise – ignorant Sees – blind Blind – sees Made whole by a wound