1. Aristotle, Theatre Spaces Theatre 100 -- Dr. Blood week 2 of class Theatre 100 -- Dr. Blood week 2 of class

2. Definitions - Theatre Spaces  Theatre must have a live performer and a live audience. That’s it.  Proscenium stage  Thrust stage  Arena stage  Found spaces  Environmental staging  Theatre must have a live performer and a live audience. That’s it.  Proscenium stage  Thrust stage  Arena stage  Found spaces  Environmental staging

3. Audience  Forms a collective identity  Cyclic interchange with performers  Different behaviors expected in different times, performance styles  Critic as privileged audience member  Peer reviewers for grants  Academic critics  Forms a collective identity  Cyclic interchange with performers  Different behaviors expected in different times, performance styles  Critic as privileged audience member  Peer reviewers for grants  Academic critics

4. Aristotle’s Poetics  C. 350 BCE

5. Aristotle’s Poetics C. 350 BCE; 1st extant work of literary or artistic criticism  Focus on tragedy; did he also write ones on comedy and epic poetry?  Imitation is the basis of art (from Plato); drama is imitation of action  Definition of tragedy C. 350 BCE; 1st extant work of literary or artistic criticism  Focus on tragedy; did he also write ones on comedy and epic poetry?  Imitation is the basis of art (from Plato); drama is imitation of action  Definition of tragedy

6. Six Elements of Drama  In order of importance to Aristotle:  Plot  Character  Thought (theme)  Diction (artistic use of language)  Song/Music  Spectacle  In order of importance to Aristotle:  Plot  Character  Thought (theme)  Diction (artistic use of language)  Song/Music  Spectacle

7. Plot Elements  Beginning, middle, end structure  Unity and probability  A complex vs. a simple plot is preferred; this includes peripety (reversal) and anagnorisis (recognition)  Single vs. double (no subplots)  Goal (telos) is catharsis - gives drama a social function in the polis  Beginning, middle, end structure  Unity and probability  A complex vs. a simple plot is preferred; this includes peripety (reversal) and anagnorisis (recognition)  Single vs. double (no subplots)  Goal (telos) is catharsis - gives drama a social function in the polis

8. Character elements  Characters should also be probable or necessary  Hero  Good  Aim at propriety  True to life  Consistent  Hamartia (tragic flaw): meaning much debated  Characters should also be probable or necessary  Hero  Good  Aim at propriety  True to life  Consistent  Hamartia (tragic flaw): meaning much debated

9. Structure of Tragic Plot  Prologue  Parodos  3-5 Episodes (scenes) alternate with Choric parts  Exodus  Commos (optional) joint chorus and character section  Prologue  Parodos  3-5 Episodes (scenes) alternate with Choric parts  Exodus  Commos (optional) joint chorus and character section

10. Old Comedy  5th century BCE  Part of City Dionysia from 487 BCE  Political and social satire  Personal attacks, author’s POV  Aristophanes (c.448-380 BCE) bridges old and middle comedy; Lysistrata (411 BCE) is old comedy  5th century BCE  Part of City Dionysia from 487 BCE  Political and social satire  Personal attacks, author’s POV  Aristophanes (c.448-380 BCE) bridges old and middle comedy; Lysistrata (411 BCE) is old comedy

12. Structure of Old Comedy  “Happy idea:” absurd but clear relevance to contemporary issue  Prologue  Chorus enters and debates the happy idea (agon) with each other and characters  Parabasis choral section in the middle, direct address to audience,  Scenes of adopting the happy idea  Komos - reconciliation, often exiting to feast or revels  “Happy idea:” absurd but clear relevance to contemporary issue  Prologue  Chorus enters and debates the happy idea (agon) with each other and characters  Parabasis choral section in the middle, direct address to audience,  Scenes of adopting the happy idea  Komos - reconciliation, often exiting to feast or revels

13. Peloponnesian War 431-404 BCE  Background of Aristophanes’ play: 20 years into the war  Athens (Delian League) vs. Sparta (Peloponnesian League)  1st phase (10 yrs) Athens’ navy raids coasts, Sparta repeatedly invades Attica  Peace of Nicias, 421  2nd: Athens launches attack on Syracuse in 415, whole force destroyed 413  Persian joins Sparta, they chip away at Athens’ allies  Destroy navy at Aegospotami, 405  Background of Aristophanes’ play: 20 years into the war  Athens (Delian League) vs. Sparta (Peloponnesian League)  1st phase (10 yrs) Athens’ navy raids coasts, Sparta repeatedly invades Attica  Peace of Nicias, 421  2nd: Athens launches attack on Syracuse in 415, whole force destroyed 413  Persian joins Sparta, they chip away at Athens’ allies  Destroy navy at Aegospotami, 405

14. Results of Peloponnesian War  Massive human cost  Tremendous economic cost; Athens never regains prosperity  Democracy vs. oligarchy  Warfare broke prior rules: devastation of whole cities, crops and countryside, broken religious and cultural taboos  Historians: Thucydides, Xenophon  How are these real costs lampooned by Aristophanes?  Massive human cost  Tremendous economic cost; Athens never regains prosperity  Democracy vs. oligarchy  Warfare broke prior rules: devastation of whole cities, crops and countryside, broken religious and cultural taboos  Historians: Thucydides, Xenophon  How are these real costs lampooned by Aristophanes?