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“I CAN RIDE MY BIKE WITH NO HANDLEBARS” – THE FLOBOTS (IT WILL MAKE SENSE LATER – I PROMISE) GREEK TRAGEDY - Adapted from notes provided by Becky Feiran;

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Presentation on theme: "“I CAN RIDE MY BIKE WITH NO HANDLEBARS” – THE FLOBOTS (IT WILL MAKE SENSE LATER – I PROMISE) GREEK TRAGEDY - Adapted from notes provided by Becky Feiran;"— Presentation transcript:

1 “I CAN RIDE MY BIKE WITH NO HANDLEBARS” – THE FLOBOTS (IT WILL MAKE SENSE LATER – I PROMISE) GREEK TRAGEDY - Adapted from notes provided by Becky Feiran; Images from Google Images

2 Study Tricks! Remember what type of learner you are and take notes accordingly! This unit includes Greek and theater-specific vocabulary  Color code Greek culture and vocabulary is purple Drama vocabulary is blue Note that sometimes, these are very closely linked. (Elements of theater are very closely linked to Greek culture. Do what makes the most sense to you.)  Flash cards  Voice recording  Act it out  Recorded versions of Antigone are available on iTunes. Annotate while you listen.

3 TRAGEDY VERSUS COMEDY COMEDY: Average, below average people who enjoy a transition from bad to good, and who speak in everyday language TRAGEDY: better than average people who suffer a transition from good to bad fortune, who speak in an elevated language Both had deep roots in the religious and communal life of the Greeks and were closely connected with the worship of god Dionysus

4 BACKGROUND: SET THE STAGE DIONYSIA: Greeks honored this patron god of the theater with annual festivals in Athens THEATER: Festivals featured, on three successive mornings, tragic poets presenting a tetralogy: three tragedies, one satyr-play  - Close of festival, judges picked winner and gave prizes  - First prize given to Thespis (“thespian”) ATTENDANCE: Civic and religious obligation (and entertainment)  - Free admission  - When later had to charge, state funded poor citizens

5 Dionysus: The Theater

6 Greek Theater: Structure

7 DIONYSUS Associated with wine and wine miracles, fostered intoxication Greek god of wild nature, forces outside civilized society Worship included dancing Greek god of otherness; represented by a mask Aulos, or double pipe, is an instrument associated with Dionysus and was used to accompany tragic performances

8 DIONYSUS

9 DIONYSUS AND HIS THEATER “Tragedy” is connected with Greek word “tragoi,” meaning goats, which Dionysus and his followers are sometimes pictured with THEATER:  Elaborate, formal costumes  Masks to emphasize dominant traits of characters  All male cast  Stately and colorful spectacles – blending drama, poetry, music, and dance to create a SOLEMN, yet entertaining devotion to the gods.

10 CHORUS Tragedy is thought to have developed from ancient choral lyric Male chorus Group dancing: brief dialogue between leader and chorus Eventually…… addition of actor to chorus  Allowed more complicated, lengthy stories to be used  The decline in its importance mainly due to introduction of additional actors

11 CHORUS Ideal spectator Sometimes central figure in tragedy Create a psychological and emotional background to action through its odes Introduce and question new characters Point out significance of events Establish facts, affirm outlook of society Cover passage of time between events Separate episodes

12 PLOTS: What happened that was so important? Dramas work out characteristics all religious rituals work out: relation of human to divine, human to material world, explain violence and its origins, attempt to control irrational and material worlds PLOT: Taken from mythology Ancient myths and heroic legends like a bible to Greeks  Recorded collective social, political, religious history  Profound, searching tales  Problems of human life  Nature of the gods Plots and characters already familiar to audience  Use of irony, subtle allusions  Spectators learned personal motive, outside forces that drove characters

13 STRUCTURE (closer to opera/operetta than spoken, prose dramas) PROLOGUE: speech or scene preceded entrance of chorus, background of story established PARODOS: entrance song of chorus, sung as they entered the orchestra, lyrics which bears some relation to main theme of play  ANAPESTIC: foot = two short syllables, long syllable (marching effect)

14 STRUCTURE EPEISODIONN/A: “Episodes” (modern act/scene)  As plot is developed through action and dialogue, actors took main roles, chorus took minor role  Poetic meter is iambic (a foot = one short syllable followed by a long syllable) or trochaic (a foot = one long syllable followed by a short syllable)  Dialogue called stichomythia (rapid exchange between two actors, each speaking one liners)  Sometimes, chorus leader (koruphaios) participates  Some parts may be chanted  Long speeches were lyric solos (sung with lyre or aulos)

15 STRUCTURE STASIMON/A: end of each episode so that tragedy is a measured alternation between these two elements. Song and dance by the chorus and odes were usually structured in alternating, metrically identical stanzas, called strophe (“turn”) and antistrophe (“counterturn”). Metrically free-standing stanza following the strophe and antistrophe is an epode. At times, the stasimon was replaced by a lyrics between actors and chorus, called a kommos EXODOS: final action after last stasimon, ended by ceremonial exit of all players; involves song by the chorus as they left the orchestra

16 TRAGIC CHARACTER: AN INTRODUCTION Born into nobility Responsible for own fate Endowed with a tragic flaw Doomed to make a serious error in judgment Eventually….. Fall from great heights or esteem, realize they have made an irreversible mistake, face and accept death with honor, meet a tragic death Note: The audience is affected by pity and/or fear

17 TRAGIC CHARACTER - REVIEW Born into nobility Responsible for own fate Endowed with a tragic flaw Doomed to make a serious error in judgment Eventually….. Fall from great heights or esteem, realize they have made an irreversible mistake, face and accept death with honor, meet a tragic death Note: The audience is affected by pity and/or fear

18 TRAGIC CHARACTER Tragedy does NOT necessarily mean an unhappy ending Tragedy deals with pain and suffering caused by an individual who obstinately defies divine will (gods/fate) or authority, refuses to yield to destiny and circumstance and obeys inner compulsions that lead to agonizing revelation Tragedy DOES mean a noble hero who runs into obstacles  Personal excess (pride)  Conflict between one set of laws and another

19 TRAGIC CHARACTER Potential for greatness, but is doomed to fail Trapped in a situation and CANNOT win Possesses a tragic flaw, which causes fall from greatness Even though he is a fallen hero, he wins a moral victory, and his spirit lives on

20 Tragedy: Definitions Review Tragedy: A type of drama in which the characters experience reversals of fortune, usually for the worse. In tragedy, catastrophe and suffering await many of the characters, especially the hero. Tragic Flaw: A weakness or limitation of character, resulting in the fall of the tragic hero. Othello’s jealousy and too trusting nature is one example. Tragic Character: A privileged, exalted character of high repute, who, by virtue of a tragic flaw and fate, suffers a fall from glory into suffering. Oedipus is an example.

21 Motive Definition: Purpose: It is critical to understand a character’s motive. A Tragic Flaw is NOT the same as motive. Because plays at this time were designed to engage civic and moral purposes, examining motive is essential to understanding the play.

22 Dramatic Purpose Definition: Drama works out characteristics all religious rituals work out: relation of human to divine, human to material world, explain violence and its origins, attempt to control irrational and material worlds

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