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The Origin of Greek Drama  religious celebration  song and dance  dancing choruses  sang hymns of praise to the god  competing for prizes.

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Presentation on theme: "The Origin of Greek Drama  religious celebration  song and dance  dancing choruses  sang hymns of praise to the god  competing for prizes."— Presentation transcript:

1 The Origin of Greek Drama  religious celebration  song and dance  dancing choruses  sang hymns of praise to the god  competing for prizes

2 The Worship of Dionysus  Dionysus: --- a vegetation deity especially associated with the vine vine --- wine --- freedom and ecstatic joy --- savage brutality  Dionysus vs. Apollo: ---the two struggling forces in human nature

3 The Rise of Greek Drama In late the sixth century BCE, the Athenians converted the rural celebration of Dionysus into an annual city festival ---dancing choruses competing for prizes the appearance of a masked actor: --- probably by Thepis --- playing a god or hero, engaged the chorus in dialogue

4 The Rise of Greek Drama the adding up of a second actor: --- Aeschylus the creator of tragedy --- an important breakthrough: the possibility of conflict conflict ---the prototype of drama

5 The Rise of Greek Drama  The appearance of the third actor  Sophocles  A further step toward the maturity of Greek drama

6 The Rise of Greek Drama  the more sophisticated form --- time: 5th century BC --- Dionysia

7 The Maturity of Greek Drama  Time & place: late March in Athens  Play competition: days tragic poets selected earlier present a tetralogy: 3 tragedies and a satyr play tetralogy: 3 tragedies and a satyr play

8 Historical Background  The defeat of the Persian invaders ( BC)  Location: only in Athens--the supreme power in the Greek world

9 The Structure of Play Production  the poet’s various jobs: --- playwright --- production --- casting (actors; chorus; musicians) --- music composing

10 The Structure of Play Production  The mature form: 3 actors with chorus  subject matter: mythology  drawback: no suspense  strength or feature: the poet’s interpretation of the character and the event

11 The structure of the theater  big size--sits people  good acoustic  structure: --- costumes: masks and elaborate costumes costumes --- actors: male, competent singers/dancers

12 The structure of the theater  Orchēstra: dancing area  Skēnē: a wooden building on the platform  Ekkuklēma: trolley (thing that rolls out)  Mechanē: (machine or device) a pulley system that allowed for the appearance an disappearance of actors in the air, above the Skēnē building.

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14 The pattern of dialogue Agon (“contest”; “struggle”): one character makes a long, sometimes legalistic speech, arguing a particular case, and a second character replies with another speech, putting the case against. Stichomythia (“line-speech”): characters speak just a single line each—a fast-paced exchange

15 The chorus  Members: 12 or 15 masked dancers; only the leader had a speaking role

16 The role of the chorus  1) Often a group of local inhabitants -----Representing the voice of the ordinary person or the word on the street; frequently fails to get things right  2) An internal audience: the revelation of inner thoughts  3) characters themselves

17 The role of the chorus  4) broadening the perspective of events: take us back in time or tracing parallels between this story and others  5) reflecting on the ethical, theological, and metaphysical implications of the events at hand  Providing a break from the main narrative, a switch to an entirely different mood or perspective

18 The role of the chorus  Choral songs can increase the dramatic tension or surprise, as when a cheerful, optimistic song is followed by a disaster

19 A basic code  Little visible horror

20 Greek religious philosophy  Athenians of this age saw no necessary connection between relision and morality.

21 The Theater  the costs: ---sponsored by appointed wealthy citizen  admission: ---originally free, later on charged; the poor sponsored by government

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