2/5/15 Do Now: Pass forward your rhetoric summative reflection if you did not complete it yesterday. Homework: “Tragedy in the 5 th Century” worksheet.

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Presentation transcript:

2/5/15 Do Now: Pass forward your rhetoric summative reflection if you did not complete it yesterday. Homework: “Tragedy in the 5 th Century” worksheet Content Objective: Students will gain an understanding of the historical and structural aspects of Greek theater. Language Objective: Students will take notes on the great tragedians and the structure of Greek tragedy.

Agenda: 1)Notes on Greek Theater 2)Start “Tragedy in the 5 th Century” Homework Agenda:

1)Aeschylus ( BC) 2)Sophocles ( BC) 2)Euripides ( BC)

Aeschylus ( BC) - known as the “Father of Tragedy” -Introduced the second actor; until then drama was just a circular dance around a sacred object -Only 7 of his plays survived - According to Aeschylus, when he dozed off, Dionysus appeared to him in a dream and ordered him to write tragedies.

Sophocles ( BC) -Added a third speaking actor -Actors also played more than one role which was indicated by a change in masks -Created characters with psychological character traits because he was interested in the motivations of characters; this resulted in characters who are more complex and fully developed -Wrote the 3 great tragedies we are studying: Oedipus Rex, Oedipus at Colonus, and Antigone a.k.a. The Oedipus Cycle

Euripides ( BC) - Credited for modernizing theater closer to what we know today - Wrote about 95 plays, but only 18 or 19 have survived - Stylistically eloquent: scholars ask: Are we reading the lines of a poet or the speeches of an orator? - incorporated humor in his plays because he often satirized the Greek gods

Structure of Greek Tragedy Greek Tragedies have a set structure or format that is characteristic of this type of play. In this type of play, scenes of dialogue alternate with choral songs, or odes. This arrangement allows the chorus to comment in its song in a general way on what has been said and/or done in the preceding scene. Greek Tragedies have a set structure or format that is characteristic of this type of play. In this type of play, scenes of dialogue alternate with choral songs, or odes. This arrangement allows the chorus to comment in its song in a general way on what has been said and/or done in the preceding scene.

Some tragedies have one more or one less episode and stasimon. Prologue Parodos First Episode (or Scene) First Stasimon (or Ode) Second Episode Second Stasimon Third Episode Third Stasimon Fourth Episode Fourth Stasimon (Antigone actually has 5 Episodes ) Exodos In Antigone, the episodes are called scenes & the stasimons are referred to as odes. Structure of Greek Tragedy

Purpose of each Component: Prologue: A monologue or dialogue that takes place before the chorus enters the stage. The prologue presents background information; it is the exposition of the play. Parodos (Entrance Ode): The entry chant of the chorus. Like the odes, it is elevated in language and its purpose is to offer commentary on the events in the play. Prologue: A monologue or dialogue that takes place before the chorus enters the stage. The prologue presents background information; it is the exposition of the play. Parodos (Entrance Ode): The entry chant of the chorus. Like the odes, it is elevated in language and its purpose is to offer commentary on the events in the play.

Structure of Greek Tragedy Episode: A scene of dialogue in which one or more actors take part. Stasimon: (Stasima=plural) A choral ode that often reflects on the dialogue and events of the preceding episode. It is a lyric poem usually of some length and has an elevated style and a formal stanzaic structure. Exodos: A processional song sung by the chorus at the end of the play offering words of wisdom related to the actions and outcome of the play. Episode: A scene of dialogue in which one or more actors take part. Stasimon: (Stasima=plural) A choral ode that often reflects on the dialogue and events of the preceding episode. It is a lyric poem usually of some length and has an elevated style and a formal stanzaic structure. Exodos: A processional song sung by the chorus at the end of the play offering words of wisdom related to the actions and outcome of the play.

THE ROLE OF THE GREEK CHORUS Gives advice, expresses opinions, and asks questions about the play’s events Establishes an ethical and/or social commentary on the action and events Serves as an ideal spectator/observer of the action; in Antigone, they represent the elder wise statesmen of Thebes. Adds movement, spectacle, song, and dance The choragus is the leader of the dramatic chorus; his dialogue is set apart from the others in the chorus. Gives advice, expresses opinions, and asks questions about the play’s events Establishes an ethical and/or social commentary on the action and events Serves as an ideal spectator/observer of the action; in Antigone, they represent the elder wise statesmen of Thebes. Adds movement, spectacle, song, and dance The choragus is the leader of the dramatic chorus; his dialogue is set apart from the others in the chorus.

Movement of the Chorus: as seen in the odes that follow each scene Strophê (Turn): A stanza in which the chorus moves in one direction (usually clockwise). Antistrophê (Counter-Turn): Chorus moves in the opposite direction (usually counter- clockwise). Epode (After-Song): Chorus stands still. Strophê (Turn): A stanza in which the chorus moves in one direction (usually clockwise). Antistrophê (Counter-Turn): Chorus moves in the opposite direction (usually counter- clockwise). Epode (After-Song): Chorus stands still.