10th grade English
Mrs. Duke
Edited and Added to by Mrs. Russell

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Traveling groups sang about myths and legends.
 Playwrights decided to write down the stories in a form that could be acted out.
 Playwright acts out the play by himself
1st actor- Thespis 534 B.C.
 Aeschylus (525-456 B.C.), added the second actor, so there was interaction.
 Sophocles added a third actor.

Sophocles (496-
406 B.C.)
 Abolished the
“trilogic form”
 Each play could be a complete entity in itself
 Responsible for the invention of scene painting and
“ periaktoi ”- a threesided revolving apparatus painted with scenery and used at each side of the stage.

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Wrote 100-120 plays; seven have survived in their entirety
Wrote the “Theben
Plays”
 Oedipus the King
(Oedipus Rex)
 Oedipus at Colonus
 Antigone

 Religious event held in the spring of each year
 Festival honoring the Greek god,
Dionysus
 Play competitions held at the Theater of
Dionysus at Athens (TDA)
 Audience would cast stone ballots to vote for the winner

 3 playwrights chosen to perform three tragedies and one satire each
 Satire --humorous play about the three tragedies just presented
– A SATYR PLAY IS A FARCICAL, OFTEN BAWDY PARODY OF THE
GODS AND THEIR MYTHS.
 Lasted three days, sunrise to sunset
 Each playwright presented on one day
 At the end of the third day, a laurel wreath and a cash award was given to the winning playwright.

 Aeschylus and Sophocles won the most competitions. Sophocles won at least 20 times.
 Euripides (480-406 B.C.), while winning less competitions, foreshadowed the ultimate form of drama as we know it -employing a far more naturalistic or human approach in his works, in contrast to the remote scale and formalized conventions used by his contemporaries.

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Aristophanes (448-380 B.C.) and Menander
(342-292 B.C.) were the greatest comic writers.
A separate competition for comedy which, while also dedicated to Dionysus, took place at the smaller winter festival, rather than the major spring festival at which the tragedies were presented.
These were dependent on topical humor and satire for much of their content, and have not survived the ages as well as tragedies -which deal with more universal themes.

 One of two gods of the earth along with
Demeter
 God of poetry, drama, the song, and wine
 Son of Zeus and
Semele (or
Persephone)

He was believed to have died every winter and revived every spring.
 Worshipped by a religious cult
 Believed to be able to take the form of animals to be sacrificed
 Worshipped during the festival and given credit for being able to have drama

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Outdoor stadium--3,000 spectators – the largest ultimately held twenty thousand people
Theatron -“the seeing place”-- was audience seating
Orchestra --circular area for the chorus
Skene building --building used for dressing, entering and exiting the performance area

 Located on a sloped surface, usually a hillside
 Half or semi-circle
 Contained wooden or stone benches built into the hillside
 Patrons looked down onto the performance area
 Segregated seating
 Patrons were from ALL classes

 A flat, circular area where the chorus stood
 Separated from the audience by a stone retaining wall
 Contained a Thymele in the center of the circle (an altar to Dionysus)
 Chorus proceeded to the orchestra by way of the parados

 Flat-roofed scene building
 Temporary construction of wood, later became permanent
 Located across the rear of the orchestra circle
 Used as a dressing area for actors

skene paragos thymele theatron orchestra

Theater of Dionysus in Athens, Greece

 Trap door on the skene--divinities could appear on the roof
 Mechane --a crane supported by a large stone that allowed characters to “fly”
 Ekkyklema -”thing which rolls out”-
-low rolling platform used to display dead bodies or to wheel out characters who were ill

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“ Hypocrits ”=Actors, role players
 Actor and playwright were originally the same
 Never have more than three hypocrits
 All male performers--played female roles also

 Long flowing robes, often with vertical stripes
 Oversized and well-padded
 High boots with raised soles or stilts
 Colors were symbolic

 Made of linen, wood, or cork

“Larger than life”
 Identified age, gender, emotion
 Exaggerated features-large eyes, open mouth
 Amplified sound

 Made of linen, wood, or cork

“Larger than life”
 Identified age, gender, emotion
 Exaggerated features-large eyes, open mouth
 Amplified sound

 Made of linen, wood, or cork

“Larger than life”
 Identified age, gender, emotion
 Exaggerated features-large eyes, open mouth
 Amplified sound

 Made of linen, wood, or cork

“Larger than life”
 Identified age, gender, emotion
 Exaggerated features-large eyes, open mouth
 Amplified sound

 Contained 15 men who chanted and danced
 Choragos --the spokesman or leader of the chorus
 Commented on the action of the play and interpreted its meaning for the audience in chants and odes

 Sets the overall mood and expresses theme
 Adds beauty (theatrical effectiveness) through song and expressive dance
 Gives background information
 Divides action and offers reflections on events
 Questions, advises, expresses opinion
(choragos)

Location of the chorus

I.
II.
III.
IV.
V.
VI.
Prologue – exposition – provides background information to set up the conflict
Parados – entrance of the chorus with the opening choral ode
Episodes – scenes
Stasima – choral odes
Paean – song to Dionysus
Exodus – action after the last stasimon, final scene

 Poems chanted that were used to conclude each scene
 Musical accompaniment-flute, lyre, percussion
 Also called stasima
(stasimon)
 Epode -final stanza

 Song/Poem of thanksgiving to
Dionysus
 Given just before the exodus (final scene)

 Convention = agreement between artist and audience
 MESSENGER
 Tells news happenings away from the scene
 Reports acts of violence not allowed to be seen onstage


“STAGE
DECENCIES”
 No violent action in front of the audience
 Scenes of horror occur off-stage and are reported to audience
 Dialogue or messenger report

 Continuous presence of the chorus “on-stage”
 No intermissions, continuous flow of action and choral odes
 No lighting
 no curtains

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1. Plot (the incidents or story line)
2. Character (physical, social, psychological, moral--people represented in the play)
3. Thought/Theme (insights into humanity and life
4. Music (all sound)
5. Spectacle (scenery and other visual elements)
6. Diction/language (the dialogue and poetry)

 UNITIES – a way of providing a central focus to a play. Aristotle believed perfect tragedies had:
 Unity of Action – simple plot with no mixture of tragedy and comedy
 Unity of Time – single day
 Unity of Place – one location of scenes

 The Glory that was Greece
 Greek Drama and Culture
 Greek Drama
 Aristotle
 Ancient Theatre
 Greek Theatre
 Dr. J's Illustrated Greek Theater