Aristotle L/O: to apply Aristote’s theories and consider their relevance (A01 and 4) to apply Aristote’s theories and consider their relevance (A01 and.

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Presentation transcript:

Aristotle L/O: to apply Aristote’s theories and consider their relevance (A01 and 4) to apply Aristote’s theories and consider their relevance (A01 and 4) What is tragedy?

Aristotle in a ‘nutshell’ In the previous lesson we looked at the basic ideas that Aristotle offered in his theories about tragedy. Today we will look more closely at excerpts from The Poetics and relate them to drama. BUT first let’s just make sure we understand the basics…

Aristotle’s ‘model’ summarised The protagonist is a man of high rank, power or fortune. They can be noble (of noble birth) or show wisdom (by virtue of their birth). The protagonist is a man of high rank, power or fortune. They can be noble (of noble birth) or show wisdom (by virtue of their birth). They undergo a catastrophe (peripeteia) – which is usually a reversal of fortune. They undergo a catastrophe (peripeteia) – which is usually a reversal of fortune. They must suffer beyond what most people ever endure in their lives. They suffering causes pity (for the protagonist) and fear (in the audience themselves). They must suffer beyond what most people ever endure in their lives. They suffering causes pity (for the protagonist) and fear (in the audience themselves). Their downfall is caused by a series of bad choices caused by a tragic a tragic flaw in their character. The most common is excessive pride or hubris. Often this bad choice inverts the natural order of things. Their downfall is caused by a series of bad choices caused by a tragic a tragic flaw in their character. The most common is excessive pride or hubris. Often this bad choice inverts the natural order of things. There is usually a scene in which the protagonist comes to understand their own flaw and why events have gone the way they have. There is then recognition of hamartia. There is usually a scene in which the protagonist comes to understand their own flaw and why events have gone the way they have. There is then recognition of hamartia. This moment provides the catharsis or emotional release for the audience. This moment provides the catharsis or emotional release for the audience. For the fullest effect, a tragedy should observe the three unities of action, time and place, with events that are sequential, taking place in one day and in one place. For the fullest effect, a tragedy should observe the three unities of action, time and place, with events that are sequential, taking place in one day and in one place.

Does the tragedy fit the mould? 1. Is the story an imitation of an action that was serious? (are the events or outcomes serious) 2. Is the story complete in itself? (does it end as it ‘should’?) 3. Does the story contain a person renowned and of superior attainments? 4. Does the protagonist have a tragic flaw? 5. Does the protagonist realise their faults and punish themselves OR get punished for not realising them? 6. Does the story arouse the emotions of pity and fear in you (catharsis)?

A possible response… 1. It is an imitation of an action that was serious; Oedipus kills his father, Jocasta commits suicide and Oedipus stabs his eyes out and banishes himself (social suicide) 2. The story is complete; there is a full resolution leaving no ‘loose strings’ 3. Yes, Oedipus is of noble birth and is a local hero to the people of Thebes 4. Oedipus suffers from hubris which ‘blinds’ him to the truth about his actions 5. Yes, Oedipus stabs his eyes out and banishes himself as punishment 6. We pity Oedipus because he is only trying to help the people of Thebes, we fear at the fact that he killed his father and married his mother without knowing it – we could hurt people without realising it as well = catharsis

Homework – due Wednesday Chose a modern drama (TV or film) and apply Aristotle’s theories. To what extent have his ideas been used in modern forms of drama such as TV or film? How relevant are Aristotle’s ideas about the effect of tragedy for a modern audience? Challenge: consider the concepts of catharsis, hubris and hamartia. How relevant do you feel these are in the 21 st century? Are there any high-status leaders in history, or media stars in the contemporary world, who we might apply these terms to?