The Theater of Dionysos Dionysos, Satyrs, and Maenads Black Figure Band Cup (6 th century) Red Figure, above (right & left) (5 th cent.) Theater at Delphi.

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The Theater of Dionysos Dionysos, Satyrs, and Maenads Black Figure Band Cup (6 th century) Red Figure, above (right & left) (5 th cent.) Theater at Delphi

The theater at Epidauros in its present state dates to ca 350 BCE

The theater at Delphi as it is now seen dates to the 2 nd century BCE, but, as in the case of the theater at Epidauros, the general form has changed little since the 5 th century.

The theater of Dionysos at Athens occupies the site of a 6th century theater. It got a face lift in 330 BC when stone seats replaced wooden ones (the new seats included special seats for the priesthood, 14 of which remain in place).

A tragic chorus (left) dances before an altar. A tragic actor holds a mask while a 2 nd actor dances (below, left) and a mask lies on the ground before an actor who is securing his boot (below, right) Right: a mask sits on top of an upended amphora.

4 th century attic vase representing Orestes and Electra at the tomb of Agamemnon. Hermes (left) wears stage boots.

Comic actors, perhaps in a performance of Aristophanes’ “Birds” – the vase dates to ca BCE.

Satyr Drama Naples New York

Stage, marble paving in the orchestra, and supporting sculpture (satyrs) belong to the Roman period. Theater of Dionysos at Athens

Stone seat for the Priest of Dionysos faces the center of the orchestra where there was an altar to the god. Lying on the ground near the theater are various sculptures (Roman) including this beautiful satyr.

Coregic Monumnet dedicated by Lysikrates 334 BCE (he financed and trained the chorus for the victorious satyr play that the mt. commemorates). The play was about the capture of Dionysos by pirates whom the god turned into dolphins (drawing of 1762) The Lysikrates Mt was preserved as part of a monastic retreat (illustration of 1830)

Pronomos Vase Volute Crater c. 400 BCE (Naples) The Name, “Pronomos” Inscribed

A satyr-play about Dionysos and Ariadne (the two central figures, left).

A satyr as Hermes A satyr as Perseus (above) Perseus, carries off the head of Medusa

Above: Oedipus and the Sphinx ( BCE) Right: Satyr imitating Oedipus before the Sphinx ( BCE).

Red figure satyrs, more apparently than black figure satyrs, imitate the everyday world of men – satyrs are not only playful but great mimics. Above left, a satyr plays the part of an Athenian craftsman (he is fluting a column). Notice the wine skin hanging behind him on the wall. Above, right, a true Athenian craftsman makes a helmet.

Above (left), a satyr-citizen Above (right), a satyr as pedagogue. Below (right): compare the real Athenian pedagogue (he is seated to the right) who waits while his charges have writing and music lessons.

A satyr, offering a rabbit as a love gift, courts a young man. A satyr makes an offering at a religious shrine. The deity is a “herm” – a pillar with the head of Hermes and a prominent phallos.

Satyrs as warriors in chariots (and as the horses that pull them). Satyr as warrior armed with phallos spear

Above (left) satyr as parent Above (center) satyr as athlete Below (center): satyr as musician

Satyrs are not only great mimics, but as part of their playful nature, they are also etremely curious. On the left, a satyr investigates the contents of a lidded box. Also consistent with their playfulness, satyrs are ever bold in their quest for an altered state of consciousness. On the right, a satyr has all but fallen into a large wine-storage jar (a “pithos”).

Once inebriated, satyrs are capable of amazing feats!

Capture of the Satyr, Silenos

Hermes brings baby Dionysos to Silenos Phiale Painter Vatican Mus. 559

Red figure satyrs approach maenads with plainly sexual intent, but the moment of consummation is never shown. Here the satyrs assault a sleeping maenad on two sides of a kylix by Makron (480 BCE)

As during the 6 th century (on the black figure vases), red figure satyrs continue to engage maenads playfully – e.g., the game of blaind- man’s bluff (left). Satyrs also continue to carry off maenads without any Indication of resistance. This coin is from the Island of Thasos, BCE.

Red Figure satyrs and maenads continue to dance in celebration of the god, Dionysos – again, without any sign of tension.

Vases like this amphora by the Kleophrades Painter ( BCE) show satyrs dancing in harmony with their female counterparts.

In the 6 th century, on the black figure vases, satyrs are commonly autoerotic as on the aryballos by Nearchos, BCE (left). On the red figure vases, satyrs are successful with mules and even with large amphorae (below)

Never, until this very late and unique example, does a satyr consummate his desire with a woman. This detail is from a vase by the Jena Painter from about BCE.