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Ritual, Performative Realities Aristotle’s Poetics
Greek Theater, Tragedy Ritual, Performative Realities Aristotle’s Poetics CLA77, Andrew Scholtz
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Agenda Origins of Drama Athenian Dramatic Festivals
Phallic Procession, Komasts, etc. Athenian Dramatic Festivals Ritualized Secularism Drama: Production Elements Aristotle’s Poetics Drama Explained? Antigone via Aristotle
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“Goat-Song,” Phallic Procession, Komasts, etc.
Origins of Drama “Goat-Song,” Phallic Procession, Komasts, etc.
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Aristotle on Origins ethnic-geographical psychological-anthropological
Aristotle on Origins ethnic-geographical psychological-anthropological Dionysian-ritual ari on origins of tragedy ethnological 1st aetiology, ethnological, reported in arist. claims that dorians invented tragedy and comedy. this suggests not that dorians actually invented tragedy or comedy, but that quasi-dramatic performance, probably dionysian, called that was a widespread phenomenon 2nd aetiology, psychological-anthropological human nature. people natural imitators further aetiology. drama from dionysian performances etc. tragedy from both/either-or dithyramb, satyric. this takes dramatic poetry from the anthropological to the aesthetic realm It certainly began in improvisations—as did also comedy, tragedy originating with the authors of the dithyramb, comedy with those of the phallic songs, which still survive as institutions in many of our cities The number of actors was first increased to two by Aeschylus,31 who curtailed the business of the chorus,32 and made the dialogue, or spoken portion, take the leading part in the play.33 (2) A third actor and scenery were due to Sophocles. (3) Trag-edy acquired also its magnitude. Discarding short stories and a ludicrous diction, through its passing out of its satyric stage, it assumed, though only at a late point in its progress, a tone of dignity; and its meter changed then from trochaic to iambic Aristotle CLA77, Andrew Scholtz
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Cultic Parallels-Precursors
Cultic Parallels-Precursors Komos (Dionysian) revel (also term for dramatic production) Phallic procession Dionysian phallus pole on parade Procession of the Phallus Pole komos drunken revel Dionysian procession an official term for dramas in classical athens komoidia = “komos-song” or comedy phallic procession phallus bearers phallic costume ritual mockery of spectators (germ of comedy??) komasts costumed, masked cult dancers-performers: many parallels in Greek world, festivals of Dionysus associated with padded komasts, satyrs i.e., ordinary folk in costume and mask Komasts: archaic Corinthian vase CLA77, Andrew Scholtz
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Dionysus Hephaestus return of Hephaestus as proto drama? related to komast scenes are scenes of clearly costumed as satyrs note evidence of padded costuming vase scenes 600 on various satyr-scenes (implicitly Dionysian), including of myth return of hephaistos story: Hephaestus, thrown out of heaven, has given Hera, his mother, a magic throne in which the goddess has been trapped Ares tries to lure H back to release mom, but can’t only Dionysus can return H - by plying with wine satyr-drama elements? return reuniting restoration of balance, peace – seemingly, proto-drama or proto-comedy costumes, dancing, narrative suggest departure point for drama: cultic impersonation but resolution of crisis, and audience’s vicarious enjoyment of same, suggest a communal healing ari on origins of tragedy ethnological 1st aetiology, ethnological, reported in arist. claims that dorians invented tragedy and comedy. this suggests not that dorians actually invented tragedy or comedy, but that quasi-dramatic performance, probably dionysian, called that was a widespread phenomenon 2nd aetiology, psychological-anthropological human nature. people natural imitators further aetiology. drama from dionysian performances etc. tragedy from both/either-or dithyramb, satyric. this takes dramatic poetry from the anthropological to the aesthetic realm It certainly began in improvisations—as did also comedy, tragedy originating with the authors of the dithyramb, comedy with those of the phallic songs, which still survive as institutions in many of our cities The number of actors was first increased to two by Aeschylus,31 who curtailed the business of the chorus,32 and made the dialogue, or spoken portion, take the leading part in the play.33 (2) A third actor and scenery were due to Sophocles. (3) Trag-edy acquired also its magnitude. Discarding short stories and a ludicrous diction, through its passing out of its satyric stage, it assumed, though only at a late point in its progress, a tone of dignity; and its meter changed then from trochaic to iambic padded, phallic costume Proto-Drama (?): komos-like Performance of the Return of Hephaestus Protocorinthian vase painting , BCE 6 CLA77, Andrew Scholtz
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Athenian Dramatic Festivals
Ritualized Secularism
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Historical-Political Sketch
Archaic Greek tyranny (600s-500s BCE) democratizing despotism Dionysian reorganization Athens Pisistratus (r BCE) & City/Greater Dionysia 1st tragedies ca. 534 BCE Democratic developments, 511- 1st comedies 486 BCE
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Athenian Dionysia Rural Dionysia (Dec.) Lenaea (late Jan/Feb)
Athenian Dionysia Rural Dionysia (Dec.) Lenaea (late Jan/Feb) 440/430 dramatic competition instituted Anthisteria (Feb) City/Greater Dionysia (late March) principal dramatic festival at Athens Dionysus Attic dramatic festivals: all could (Greater Dionysia did) involve drama Rural Dionysia, Lenaia Anthesterion City Dionysia non-restrictive audience: women slaves foreigners CLA77, Andrew Scholtz
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Greater Dionysia: Program
Assignment of choruses Proagōn preview of plays “Introduction” processional to and from Academy Official parade (pompē) Preliminary ceremonial theater purified public honors tribute displayed Poetic/dramatic contests Dithyrambic choruses ( ) Comedy (5 plays) Tragedy (3 tetralogies) tetralogy = sequence of… 3 tragedies 1 satyr drama by an individual poet, and presented in a single day
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Tragedy: Ritualized Secularism
Tragedy: Ritualized Secularism Dual Focus (Barlow) ancient, mythic, heroic, archetypal contemporary, political, communal, skeptical Ambivalent affirmation Vernant Hall Theater at Epidaurus athenian drama – tragedy especially - as civic-communal experience Dramatists on trial City on trial paraphrasing vernant: "when past heroes become incorporated into contemporary tragedy, they turn into problems and cease to be models“ v quote: "tragedy is a debate with a past that is still alive.“ but cf. “Edith Hall’s notion of tragic dialogue as a polyphony of voices rising up to challenge assumptions cherished by tragedy’s target audience, yet constituting a discourse — that of tragedy — celebrating the very values tragedy put on trial” CLA77, Andrew Scholtz
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Viewing/Performing Space
Theater Viewing/Performing Space CLA77, Andrew Scholtz
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CLA77, Andrew Scholtz
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Acropolis with Theaters
N Parthenon Roman Theater Theater of Dionysus Acropolis with Theaters CLA77, Andrew Scholtz
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Basic Design: Theater of Dionysus ca. 420 BCE
Basic Design: Theater of Dionysus ca. 420 BCE theatron (“viewing place,” auditorium, theater) wooden bleachers stone seats (dignitaries) theatron outdoor, public space Theater of Dionysus at Athens: ca. 14,000 capacity political-civic space producer (khoregos) a state office performance, judging, a state function sacred space Theater of Dionysus at Athens: in precinct of Dionysus orkhēstra (“dancing space” for chorus) kerkis (“wedge” seating section) altar entry (parodos, eisodos) entry (parodos, eisodos) steps low wooden stage with skene (from ca. 420 BCE) skene (stage building) 15 CLA77, Andrew Scholtz
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Drama: Production Elements
Drama: Production Elements CLA77, Andrew Scholtz
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Tragic chorus, masked, dancing, singing (ancient vase)
17 Tragic chorus, masked, dancing, singing (ancient vase) CLA77, Andrew Scholtz
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Coryphaeus (chorus leader)
Coryphaeus (chorus leader) Playwright Demetrius Satyr choreuts (chorus members) 18 CLA77, Andrew Scholtz
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Charinus (kithara player) Pronomos (piper) King-character 19
Dionysus and Ariadne Queen-character Himeros (= Eros) Heracles (Pappo)silenos satyr drama dionysia: fourth on bill (not at lenaea) myth-burlesque plots myth-characters (Pappo)silenos both independent character and … quasi-chorus leader (in addition to coryphaeus) father of satyrs satyr chorus youthful versions of Silenos 11 choreuts (include. coryphaeus) + Silenos = regular chorus of 21 Charinus (kithara player) Pronomos (piper) King-character 19 CLA77, Andrew Scholtz
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Human, Other Resources Personnel (all male) poet (poiētēs)
Human, Other Resources Personnel (all male) poet (poiētēs) producer (khorēgos) director (didaskalos, “teacher”) actors (hupokritai) chorus and “chorus leader” (koruphaios) piper Gear masks costumes props scenery special effects mekhanē crane to lower gods et al. ekkuklēma trolley to wheel out corpses etc. monologue and dialogue actor = hupokrites (plur. hupokritai, compare English “hypocrite”) “answerer” Singing, dancing choral monodic (“arias”) antiphonal (actor, chorus) dramatic masks: function visual/auditory projection? suppression-concealment? embodiment-externalization? surface manifestation are dramatic masks, considering their cultic origins, going then to be way of making performer more visible? submerging personality of performer? John Jones (On Aristotle and Greek Tragedy): mask, like the face (prosopon) does not conceal, but imitates and externalizes total personality (prosopon) of the character (prosopeion, prosopon) CLA77, Andrew Scholtz
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Tragedy: Structure & Elements
Tragedy: Structure & Elements prologue portion preceding parodos parodos chorus entry episodes segments between major choral numberrs stasima (sing. stasimon) major choral numbers (not including parodos) kommos lamentation scenes (chorus-character sung dialogue) exodos portion following last stasimon stichomythia rapid back-and-forth dialogue agōn debate scene messenger speeches description of off-stage action CLA77, Andrew Scholtz
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Drama Explained? Antigone via Aristotle
Aristotle’s Poetics advantages and dangers of poetics need to be pointed out. dangers: limited perspective of arist., pseudo-scientific, non-value-neutral, teleological approach. adv: work can be read as attempt to find abiding value in poetry generally, drama n particular, as a kind of possession for all time METHOD systematic, taxonomical perhaps the literary-theoretical work in the western tradition. "Let us follow the natural order and begin with the primary facts." Empirical, scientific approach. stress in imitation (mimesis). species w/in genus (poetry) defined via differentiae: "either by a difference of kind in their means, or by differences in the objects, or in the manner of their imitations." [poetry = imitative, not metrical discourse] "What the imitator [i.e., the poet] imitates are actions These doers of the action are necessarily either good people or bad.... It follows, therefore, that the people being represented must be either above our own level of goodness, or beneath it, or just such as we are. This difference it is that distinguishes tragedy and comedy also; the one prefers to imitate worse people, and the other, better, than the people of the present day." "This in fact, according to some, is the reason for plays being termed dramas, because in a play the characters act the story." i.e., the diff between Drama Explained? Antigone via Aristotle CLA77, Andrew Scholtz
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Poetics: Approach Method definition classification analysis teleology
Poetics: Approach Method definition classification analysis teleology critical evaluation Critical foci organic coherence plausibility / realism emotional power utility / enjoyment therapeutic value educational value method classification, analysis, teleological explanation: poetry as a genus (collective category) to be divided into its constituent sub-species, individual poems as phenomena to be analyzed into their component elements. the evolution of an art as a gradual perfection. teleology: poetry explained in terms of its purpose, in terms of forms ideally suited to the fulfilment of that purpose. hence its telos, perfect form inhering already in the immature manifestations of that form. critical evaluation: this isn't just about what poems are, but about what good poems are. critical foci three principal values: the organic coherence of a drama, its plausibility and verisimilitude, its power to move an audience emotionally, to inspire pity and fear. plot aristotle's main focus: poetry as imitation of action (literally, drama). aristotle’s ideological investment, his “position” on poetry, viz., as something simultaneously pleasurable and useful - pleasurable in its utility, useful in its capacity to please. i.e., the poetics as a kind of answer to plato, about whom more later in the semester. ari’s approach CLA77, Andrew Scholtz
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Poetics: Critical Vocabulary
Poetics: Critical Vocabulary Plot, muthos simple complex episodic anagnorisis peripeteia hamartia complication / reversal Ethical component ethos-“temperament” thought hamartia ari’s foci “Of simple plots and actions the episodic are the worst. I call a plot episodic when there is neither probability nor necessity in the sequence of episodes” peripeteia & HAMARTIA: "There remains, then, the intermediate kind of personage, a person not pre-eminently virtuous or just, whose misfortune, however, is brought upon him not by vice and depravity but by some form of hamartia (“error”). Such characters will enjoy good reputation and prosperity—for instance, Oedipus, Thyestes, and the people of note of similar families." not mokhtheria but hamartia must cause the turn-around. eur the best creator of tragic plots. ari doesn't look for dramatic justice - each getting just deserts. looks for incident that produces pity and fear. CLA77, Andrew Scholtz
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Antigone via Aristotle (discussion)
Criteria fulfilled Royal family (superior) pity reversal (peripeteia) for Creon catharsis Creon’s but ours?? Criteria left wanting Dual protagonists – Antigone, Creon violates Aristotelian economy of plot?? Pity for Antigone? or admiration: noble defiance of patriarchy?
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Antigone via Aristotle??
fit royal family (superior) felt pity emphasis plot role reversal – Creon peripeteia catharsis Creon’s dual protagonists – Antigone, Creon violates Aristotelian economy of plot?? didn’t feel pity for Antigone noble defiance of patriarchy
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Aristotle on Tragedy “A tragedy, then, is the imitation of an action that is serious and also, as having magnitude, complete in itself; in language with pleasurable accessories, each kind brought in separately in the parts of the work; in a dramatic, not in a narrative form; with incidents arousing pity and fear, wherewith to accomplish its catharsis of such emotions.” (7-8) ari on tragic catharsis here ari re-establishes connection with the dionysian. ecstatic worship like that accorded to dionysus was believed capable of a kind of psychological purification - we’d call it therapy. acc. to aristotle, the vicarious experience of violence and suffering “imitated” in tragedy is capable of purifying us of negative emotive energy like a kind of exorcism - pity is, to the greeks, just such a negative energy. (for greeks, vicarious experience could exercise powerful effect.) for ari this will be as true for the reader as for the viewer. thus the pleasure we take in the vicarious experience of suffering is for us healthy. a connection with “from suffering, knowledge”: ari says to be learning something is the greatest of pleasures, not only to the philosopher, but also to the rest of humanity, however small our capacity for it” and later, “that the one describes things that have actually happened, and the other a kind the sorts of things that might happen. Hence poetry is something more philosophic and of graver import than history, since its statements relate to things of universal import, whereas those of history relate to particulars” 27 CLA77, Andrew Scholtz
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