1. Greek Tragedy Everything you wanted to know about Greek tragedy but were afraid to ask :)

2. What are we going to talk about? The Origins of Tragedy The Origins of Tragedy Which Cities Performed Tragedy Which Cities Performed Tragedy When Tragedy was Performed When Tragedy was Performed The Parts of a Greek Theater The Parts of a Greek Theater The Theaters Themselves The Theaters Themselves The Major Playwrights The Major Playwrights The Way a Greek Tragedy Was Staged The Way a Greek Tragedy Was Staged Define Tragedy Define Tragedy Modern Tragedy Modern Tragedy Your thoughts on Tragedy… Your thoughts on Tragedy…

3. The Origins of Tragedy Originated from the dithyramb: a choral song in honor of Dionysos Originated from the dithyramb: a choral song in honor of Dionysos Arion of Methymna (7 th century) was the first to write a choral song, practice it with a chorus, and perform it Arion of Methymna (7 th century) was the first to write a choral song, practice it with a chorus, and perform it Lasus of Hermione was the first to do it at Athens Lasus of Hermione was the first to do it at Athens Connected with the worship of Dionysos in Athens Connected with the worship of Dionysos in Athens

4. The Origins of Tragedy Thespis of Corinth Thespis of Corinth The first travelling actor The first travelling actor Active c. 538-28 BCE Active c. 538-28 BCE Added prologue and speech to choral performance Added prologue and speech to choral performance Said to have invented the mask Said to have invented the mask

5. Where Was Tragedy Performed? almost every Greek city had a theater almost every Greek city had a theater Theaters could be very small or huge Theaters could be very small or huge Each theater had specific parts Each theater had specific parts Usually in the center of the city Usually in the center of the city

6. The Parts of a Theater The Orchestra The Orchestra The acting area The acting area semi-circular semi-circular Had a small altar to Dionysos in the center Had a small altar to Dionysos in the center Where the Chorus danced and the actors spoke Where the Chorus danced and the actors spoke

7. The Parts of a Theater The Skene The Skene The large backdrop The large backdrop Could be decorated with scenery Could be decorated with scenery Where the action actually took place (hidden) Where the action actually took place (hidden) Roof was accessible Roof was accessible Originally one door in the center, but eventually had three doors Originally one door in the center, but eventually had three doors

8. The Skene

9. The Theaters Theater of Dionysos Theater of Dionysos Athens Athens Main theater for tragedy Main theater for tragedy 4 th century remains 4 th century remains c. 20,000 seats c. 20,000 seats Located on side of Acropolis Located on side of Acropolis

10. Theater of Dionysos

12. The Theaters Theater of Epidauros Theater of Epidauros The best-preserved The best-preserved Largest surviving theater Largest surviving theater Located near Argos Located near Argos in the Peloponnesus in the Peloponnesus Sanctuary of Aesclepius Sanctuary of Aesclepius Still in use today Still in use today

13. Theater of Epidauros

15. The Theaters Theater of Pergamon Theater of Pergamon In Asia Minor (Turkey) In Asia Minor (Turkey) Extremely steep seating Extremely steep seating Fit to the terrain Fit to the terrain Pergamon one of the most wealthy Asian cities Pergamon one of the most wealthy Asian cities

16. Theater of Pergamon

17. The Playwrights Three major tragedians Three major tragedians Aeschylus Aeschylus Sophocles Sophocles Euripides Euripides All active in the 5 th century All active in the 5 th century All won first place in multiple competitions All won first place in multiple competitions Only Athenian plays survive Only Athenian plays survive

18. Sophocles b. 496 d. 406 b. 496 d. 406 Served as a general with Pericles (441) Served as a general with Pericles (441) Very active in city politics (413) Very active in city politics (413) First tragedy 468 First tragedy 468 First first prize 468 First first prize 468 Won 18 first prizes Won 18 first prizes Never finished third Never finished third

19. Sophocles Introduced the third actor Introduced the third actor Wrote over 120 plays (seven survive) Wrote over 120 plays (seven survive) The most successful are the Big Three The most successful are the Big Three Challenged conventional morals Challenged conventional morals Introduced more dialogue between characters (less Chorus) Introduced more dialogue between characters (less Chorus) Oedipus Tyrannus, Oedipus at Colonus, Antigone, Electra Oedipus Tyrannus, Oedipus at Colonus, Antigone, Electra

20. The Staging of Tragedy “Classical theater resembled today’s rock concerts: the audience knew every number by heart, performers wore high heels, loud costumes and heavy make-up, and they relied on background singers, known as the Chorus.” “Classical theater resembled today’s rock concerts: the audience knew every number by heart, performers wore high heels, loud costumes and heavy make-up, and they relied on background singers, known as the Chorus.” -Howard Tomb

21. The Staging of Tragedy “The audience knew every number by heart…” “The audience knew every number by heart…” Most tragedies dealt with mythological themes Most tragedies dealt with mythological themes “Performers wore high heels, loud costumes and heavy make-up…” “Performers wore high heels, loud costumes and heavy make-up…” They wore elaborate clothes, tall boots, and masks They wore elaborate clothes, tall boots, and masks “They relied on background singers, known as the Chorus.” “They relied on background singers, known as the Chorus.” Especially after the introduction of the third actor Especially after the introduction of the third actor

22. The Staging of Tragedy - Actors Maximum of three actors Aeschylus second Sophocles third All roles played by men Same group of actors for each set of plays for each author

23. Playwrights did not act in their own plays after Sophocles Chorus publicly funded A choregos would pay for and train the chorus Viewed as a civic duty Could be prosecuted for failing to do it wealthy enough Choregos got a monument if his chorus won

24. The Staging of Tragedy - Costumes Actor wore: Mask Robes Platform boots (kothornoi) Chorus could be in costume (comedy)

25. The Staging of Tragedy - Masks The most salient feature The most salient feature All parts by men, so mask depicted gender All parts by men, so mask depicted gender Acted as a megaphone Acted as a megaphone Voice inflection paramount Voice inflection paramount Multiple Masks = Multiple Characters Multiple Masks = Multiple Characters Only three actors Only three actors More than three speaking roles, need for costume and mask change More than three speaking roles, need for costume and mask change Oedipus and his eyes Oedipus and his eyes

26. The Audience Any male could attend Any male could attend Women most likely able to attend Women most likely able to attend Aeschylus’ Furies Aeschylus’ Furies State funded attendance State funded attendance Cost was the average daily wage of a laborer Cost was the average daily wage of a laborer Theoric Fund Theoric Fund Never suspended, even when Athens in dire straights Never suspended, even when Athens in dire straights Supplied public tickets Supplied public tickets “Must-see TV” “Must-see TV”

27. The Audience Catharsis Catharsis “learning through suffering” “learning through suffering” Moderation is to be sought in all things, even good things Moderation is to be sought in all things, even good things The mighty fall so far that we admire them for being so high The mighty fall so far that we admire them for being so high A spiritual cleansing of the audience A spiritual cleansing of the audience Performances emotional Performances emotional

28. General Definition of Tragedy Tragedy depicts the downfall of a noble hero or heroine, usually through some combination of hubris, fate, and the will of the gods. The tragic hero's powerful wish to achieve some goal inevitably encounters limits, usually those of human frailty (flaws in reason, hubris, society), the gods (through oracles, prophets, fate), or nature. Tragedy depicts the downfall of a noble hero or heroine, usually through some combination of hubris, fate, and the will of the gods. The tragic hero's powerful wish to achieve some goal inevitably encounters limits, usually those of human frailty (flaws in reason, hubris, society), the gods (through oracles, prophets, fate), or nature.

29. Definition continued… Aristotle says that the tragic hero should have a flaw and/or make some mistake (hamartia). The hero need not die at the end, but he / she must undergo a change in fortune. In addition, the tragic hero may achieve some revelation or recognition (anagnorisis--"knowing again" or "knowing back" or "knowing throughout" ) about human fate, destiny, and the will of the gods. Aristotle quite nicely terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate." Aristotle says that the tragic hero should have a flaw and/or make some mistake (hamartia). The hero need not die at the end, but he / she must undergo a change in fortune. In addition, the tragic hero may achieve some revelation or recognition (anagnorisis--"knowing again" or "knowing back" or "knowing throughout" ) about human fate, destiny, and the will of the gods. Aristotle quite nicely terms this sort of recognition "a change from ignorance to awareness of a bond of love or hate."

30. Modern Tragedy Aristotle's ideas concerning dramatic structure established the terms of the debate and were never seriously challenged. Based on his unquestioned authority, critics who discussed tragedy assumed his categories to be valid for all time. A closer look, however, reveals that Aristotle's formal definition excludes many plays which are commonly thought of as tragedies. Not all tragic heroes suffer because of a tragic error, nor does recognition always occur within the tragic plot. Aristotle's ideas concerning dramatic structure established the terms of the debate and were never seriously challenged. Based on his unquestioned authority, critics who discussed tragedy assumed his categories to be valid for all time. A closer look, however, reveals that Aristotle's formal definition excludes many plays which are commonly thought of as tragedies. Not all tragic heroes suffer because of a tragic error, nor does recognition always occur within the tragic plot.

31. Modern Tragedy Cont… The 19th century philosopher Hegel described the tragic situation as the collision of mutually exclusive but equally legitimate causes: both Antigone and Creon stand for principles – loyalty to family and obedience to the state – which are morally justifiable if taken by themselves, but when these ethical positions conflict, tragedy results for both sides. The 19th century philosopher Hegel described the tragic situation as the collision of mutually exclusive but equally legitimate causes: both Antigone and Creon stand for principles – loyalty to family and obedience to the state – which are morally justifiable if taken by themselves, but when these ethical positions conflict, tragedy results for both sides.

32. Modern Tragedy Cont… As Heilman explains, the tragic hero is sometimes caught between "two imperatives, different injunctions, each with its own validity but apparently irreconcilable." To avenge their fathers' deaths, both Orestes and Hamlet must in turn murder another relative, placing them in a moral dilemma with no guiltless options. As Heilman explains, the tragic hero is sometimes caught between "two imperatives, different injunctions, each with its own validity but apparently irreconcilable." To avenge their fathers' deaths, both Orestes and Hamlet must in turn murder another relative, placing them in a moral dilemma with no guiltless options.

33. Modern Tragedy Cont… Friedrich Nietzsche found the origins of tragedy symbolically represented in the confrontation of Apollo and Dionysos, the Greek gods of order, restraint, and form on the one hand and impulse, instinct, and ecstatic frenzy on the other. The tragic hero is divided "between imperative and impulse, between moral ordinance and unruly passion... between law and lust" (Heilman 207). Friedrich Nietzsche found the origins of tragedy symbolically represented in the confrontation of Apollo and Dionysos, the Greek gods of order, restraint, and form on the one hand and impulse, instinct, and ecstatic frenzy on the other. The tragic hero is divided "between imperative and impulse, between moral ordinance and unruly passion... between law and lust" (Heilman 207).

34. What qualities make up tragedy? First, tragedy begins by asking ultimate questions: why are we here? Does life have meaning or purpose? More to the point, can life have meaning in the face of so much suffering and evil in the world? Does death negate the significance of the protagonist's life and the goals he/she was seeking? First, tragedy begins by asking ultimate questions: why are we here? Does life have meaning or purpose? More to the point, can life have meaning in the face of so much suffering and evil in the world? Does death negate the significance of the protagonist's life and the goals he/she was seeking?

35. What qualities make up tragedy? Philosophers and theologians through the ages have debated the question of the origin of suffering, but tragedy offers no single solution. Some people suffer because of their own actions: miscalculations which turn out to be fatal, mistakes based on ignorance or deceit, or evil deeds which return to haunt the doer. Philosophers and theologians through the ages have debated the question of the origin of suffering, but tragedy offers no single solution. Some people suffer because of their own actions: miscalculations which turn out to be fatal, mistakes based on ignorance or deceit, or evil deeds which return to haunt the doer. Some fall victim to the malevolent will of others or are caught in a moral dilemma not of their making. At times the tragic hero appears to suffer simply because he or she lives in a cruel and unjust universe where the gods are unkind, unfeeling, or nonexistent. Some fall victim to the malevolent will of others or are caught in a moral dilemma not of their making. At times the tragic hero appears to suffer simply because he or she lives in a cruel and unjust universe where the gods are unkind, unfeeling, or nonexistent.

36. What qualities make up Tragedy? Second, tragedy pushes the individual to the outer limits of existence where one must live or die by one's convictions. Second, tragedy pushes the individual to the outer limits of existence where one must live or die by one's convictions. Aristotle saw the extremism of the tragic hero as a failure to find the moderate way, leading to his downfall. In contrast, Nietzsche felt that this extremism was the sole justification for the hero's existence, as one who possesses the courage to live dangerously, to risk all in order to gain all. Aristotle saw the extremism of the tragic hero as a failure to find the moderate way, leading to his downfall. In contrast, Nietzsche felt that this extremism was the sole justification for the hero's existence, as one who possesses the courage to live dangerously, to risk all in order to gain all.

37. What qualities make up Tragedy? Third, tragedy depicts men and women who, dissatisfied with the hand destiny has dealt them, challenge the rules of the game. Sometimes they win, sometimes they lose, but always they demonstrate the power of free will to stand against fate or the gods. Contrary to popular belief, tragedy does not depict man as a helpless puppet dancing to the strings of destiny. Third, tragedy depicts men and women who, dissatisfied with the hand destiny has dealt them, challenge the rules of the game. Sometimes they win, sometimes they lose, but always they demonstrate the power of free will to stand against fate or the gods. Contrary to popular belief, tragedy does not depict man as a helpless puppet dancing to the strings of destiny.

38. What qualities make up Tragedy? The tragic vision does not assume the hero's ultimate downfall. Instead, it explores possible ways in which free will exerts itself in the world. The tragic vision does not assume the hero's ultimate downfall. Instead, it explores possible ways in which free will exerts itself in the world. Even when the gods appears to have a hand in the hero's destruction, he remains his own master: despite the tricks of fate, Oedipus never denies his responsibility in sinning against his parents. Confronting insurmountable odds, the protagonist's determination to act rather than submit often leads to disastrous results, but at the same time it tests the basic substance of humanity, proving its worth. Even when the gods appears to have a hand in the hero's destruction, he remains his own master: despite the tricks of fate, Oedipus never denies his responsibility in sinning against his parents. Confronting insurmountable odds, the protagonist's determination to act rather than submit often leads to disastrous results, but at the same time it tests the basic substance of humanity, proving its worth.

39. What qualities make up Tragedy? Fourth, this tremendous strength of will to scale the heights and accomplish the impossible sets the hero apart from ordinary humanity, but at the same time it inspires us with a vision of human potential. Thus, tragedy, far from being a pessimistic view of life, is ultimately optimistic about the value of human achievement and the unconquerable strength of the human spirit. Fourth, this tremendous strength of will to scale the heights and accomplish the impossible sets the hero apart from ordinary humanity, but at the same time it inspires us with a vision of human potential. Thus, tragedy, far from being a pessimistic view of life, is ultimately optimistic about the value of human achievement and the unconquerable strength of the human spirit.

40. What qualities make up Tragedy? Sophocles has the chorus of Antigone sing, "Numberless are the world's wonders, but none more wonderful than man.” Sophocles has the chorus of Antigone sing, "Numberless are the world's wonders, but none more wonderful than man.” Hamlet remarks, "What a piece of work is a man! How noble in reason, how infinite in faculty, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!" Hamlet remarks, "What a piece of work is a man! How noble in reason, how infinite in faculty, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!" Both these sentiments echo the words of David in Psalm 8: "What is man that you are mindful of him?... You have made him a little lower than divinity and crowned him with glory and honor. You made him ruler over the works of your hands, and put everything under his feet." Both these sentiments echo the words of David in Psalm 8: "What is man that you are mindful of him?... You have made him a little lower than divinity and crowned him with glory and honor. You made him ruler over the works of your hands, and put everything under his feet."

41. Does True Tragedy still exist? Shortly after the successful opening of Death of a Salesman (1949), Arthur Miller published an article in the New York Times entitled “Tragedy and the Common Man.” In this essay Miller admits that few tragedies are written today, some argue “due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science.” However, Miller states, “I believe that the common man is as apt a subject for tragedy in its highest sense as kings were.” He then gives his definition of a modern tragic hero: “The tragic feeling is evoked in us when we are in the presence of a character, who is ready to lay down his life, if need be, to secure one thing – his sense of personal dignity.” Shortly after the successful opening of Death of a Salesman (1949), Arthur Miller published an article in the New York Times entitled “Tragedy and the Common Man.” In this essay Miller admits that few tragedies are written today, some argue “due to a paucity of heroes among us, or else that modern man has had the blood drawn out of his organs of belief by the skepticism of science.” However, Miller states, “I believe that the common man is as apt a subject for tragedy in its highest sense as kings were.” He then gives his definition of a modern tragic hero: “The tragic feeling is evoked in us when we are in the presence of a character, who is ready to lay down his life, if need be, to secure one thing – his sense of personal dignity.”

42. Your Thoughts… Can the common man or woman be the subject of tragedy? Can the common man or woman be the subject of tragedy? Refer back to your notes on tragedy - how do they measure up? Refer back to your notes on tragedy - how do they measure up? Are the examples you gave a depiction of tragedy or are they merely a series of unfortunate events? Can specific parts be considered tragic where others are not? Are the examples you gave a depiction of tragedy or are they merely a series of unfortunate events? Can specific parts be considered tragic where others are not?