Greek Drama
Background
All you need to know to confidently
analyze the theater that began the
western traditions which brought us
Hair, Grease, and Mamma Mia!
Origins of Greek Drama
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Originally a ceremony of state
religions—plays produced only at
religious festivals
Six-day religious festival honoring
Dionysus, god of wine, revelry,
fertility, and song (Roman Bacchus,
god of vegetation) at the end of each
season, 4 major festivals. The
greatest of these was in spring
“Greater Dionysia”
Schedule for Original Greek Drama
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Days one through three—one long parade or
religious procession, followed by many holy
sacrifices, choral singing contests, etc.
Three days of drama—tragedy, tragedy, tragedy,
comedy / Drama was foremost at the event at the
festivals. Each day a tragic poet presented his
tetralogy (set of four total plays: three tragedies,
and one Satyr play).
Each afternoon there was also a comic poet’s
play.
Details about the
Original Greek Theater
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The playwright was director, coach, and
often actor as well.
Last day was grand judging of the plays
and awarding of prizes
The winner of the festivals received Laurel
Wreaths as an award of honors (Hence,
“don’t rest on your laurels!”)
Origins of Greek Drama
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The winner of the early tragedy
competitions were awarded a “tragos” or as
you know it, a goat.
The origin of the word Tragedy is
“tragoedia” meaning “goat song”
Cost of the plays and prize money was
borne by wealthy citizens chosen by the
city-state
Origins of Greek Drama
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Theater was a public event—large crowd,
country people, foreigners, even slaves
(they were released for the festivities)—
14,000 to 25,000 spectators
Setting the stage
Setting the Stage
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Scene of drama is outdoor (amphitheater), on
hillsides to permit seeing and hearing. There was
no stage, the actors performed in front of a staged
building, which represented a palace or temple.
Between the actors and the audience was the
dancing circle or “orchestra,” in the center of
which stood the altar to Dionysus which was a
reminder of the religious nature of the play.
Setting the Stage
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There were no artificial lights, so
performances began at sunrise. The best
surviving example of these first theaters is
the theater at Epidaurus. The Athens
Theater, near the southeast foot of the
Acropolis, could accommodate about
14,000 spectators.
Setting the Stage
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Interior scenes or events taking place away
from the scene of the action could not be
shown.
They are revealed to the audience through the
Eccyclema (ek’ee klaim’a) (In classical Greek
theatre, stage mechanism consisting of a low
platform that rolled on wheels or revolved on an
axis and could be pushed onstage to reveal an
interior or some offstage scene such as a
tableau.
It was introduced to the Attic stage in the 5th
century to provide directors a means for
clarifying the action.
Violence on the Stage
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Because violence was prohibited from the Greek
stage, it is thought by some that murdered bodies
may have been displayed on the device. The
eccyclema was used mainly in tragedy but was
occasionally employed in comedy.
In the Acharnians by Aristophanes, for example, a
character representing the playwright Euripides is
reluctant to leave his house until Dicaeopolis, who
wants to borrow a costume, brings him the “scene
shifter” to wheel him onstage surrounded by
costumes.
Violence on the Stage
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After violence was no longer proscribed
onstage, the eccyclema still served as a
scene-shifting device, eventually giving rise
to modern turntables and other revolving
stage mechanisms.), or reported by a
messenger.
No violence portrayed before the audience,
because of the religious association of the
theater (there are, however, some
exceptions)
Setting the Stage
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On the far side of the orchestra was the stage building, or
skene (meaning “tent”).
This was a covered structure, originally a temporary
wooden building, where the actors stored their masks and
costumes and performed quick changes out of the sight of
the audience.
We know very little about the skene in the fifth century;
however, there seems to have been some type of stage
building by the time Aeschylus’ Oresteia was first produced
(458 BCE), since these plays require central doors and an
upper platform (the “roof” on which the watchman
appears).
The wooden stage buildings of the fifth century were
replaced by more permanent stone structures in the fourth
century
How Does it End?
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Deus ex machina (day us ex ma
kahna) “God from the machine.” A
crane suspended from the top of
the building to raise and lower
flying figures and to introduce and
remove gods.
Deus ex machina was employed to
give a formal miraculous
conclusion to the tragedy.
The god appeared to come from
on high, in the form of a dummy
suspended from the machine, to
unravel all the unsolved problems
of the play.
The Mechanics of the Theater
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In the modern sense, Deus ex machina
refers to the intervention of any deity in the
conflict of a drama in order to speed the
resolution.
It is also used to refer to any supernatural
intervention in conflict resolution.
Artistotle was not a fan of this technique—
he believed that the gods should be outside
commentators, not a part of the plot.
The Three Unities of Greek Drama
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Unity of action—concentration of the
single action with no irrelevancies or
subplots employed (this is the only one
adhere to by tragedians)
The Three Unities of Greek Drama
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Unity of
time —time
period of
action no
more than
24 hours
The Three Unities of Greek Drama
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Unity of place —one unchanged scene
throughout the play
Other Details about Greek Theater
 Poetic
form always employed
 No curtain or intermission
None of this stuff.
What did they say?
Stichomythia
 Dialogue especially of altercation or dispute
rapidly delivered by two actors in alternating
lines
Etymology:
1.
from stichomythein: to speak dialogue in
alternate lines,
2. from stichos: row, verse + mythos speech,
myth; akin to Greek steichein to walk, go.
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What did they say?
Stichomythia
 Dialogue especially of altercation or dispute
rapidly delivered by two actors in alternating
lines
Example from Hamlet:
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QUEEN: Hamlet, thou hast thy father much offended.
HAMLET: Mother, you have my father much offended.
QUEEN: Come, come, you answer with an idle tongue.
HAMLET: Go, go, you question with a wicked tongue.
(3.4)
Hey, haven’t I heard that story before?
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Since plots were usually well-known myths,
the audience knew the plot before the play
began. So the play was about the
instruction of the play, the spectacle as a
whole and the dramatic irony.
Aristotle’s technical sense: poetry is
imitation (mimêsis).
Chorus: “Take it away boys!”
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Earliest form of festival were folkprocessions—chorus of about 50 men
dressed as satyrs (in goatskins,
Chothurnis, or chitons)—singing hymns of
praise to Dionysius.
These “Dithyrambs” originated around 7th
century B. C. Often the hymns were
humorous and told of the god’s
adventures—satyr-dramas
Chorus: “Take it away boys!”
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In 534 BC in the excitement of telling stories, one
of the members of the chorus stood apart and
played the role of the god, singing lines in answer
to the verses of the chorus
His name was Thespis—which is where the term
thespian originated
Actors called “Hypocrites” answered back.
This changed the role of the chorus and initiated a
shift away from stories solely about Dionysus.
Function of the Chorus
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Beauty of poetry and dancing
Mood and central themes of drama—
chorus interprets events, generalizes
meaning of the action
The “ideal spectator”—bridge between the
players and the audience.
Function of the Chorus
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Relieves tension
Often converses with and gives advice to
the actors
Gives background, informing audience of
preceding events
The leader of the chorus has a special
importance, often acting as spokesman for
the group.
Modern Choruses include women.
Drama has Character Foils
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Is a character that
highlights or brings
out the personality
traits of another
character, and the
contrast serves to
emphasize the other
character’s traits.
I’m hearing voices…
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Monologue is
a speech in
which one
character is
talking, but
there are other
characters on
stage.
Poor guy. His
monologue
was over when
the others left
the stage. 
I’m hearing voices…
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Soliloquy is a speech in
which one character is
alone on stage
expressing his/her
thoughts to the audience.
Hamlet’s “To be, or not to
be” speech is a pretty
famous soliloquy
I’m hearing voices…
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Dialogue is conversation between
characters.
Drama has Peripeteia
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A reversal of circumstances or turning
point, sudden change of events.
Drama has Anagnorisis (an-ag-NOR-uh-sis)
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The recognition by the tragic hero of some
truth about his or her nature, identity, or
actions that accompanies the peripeteia.
This is the beginning of the dénouement
(any action after the conflict is
resolved).
Comedy is…
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A type of drama where the hero overcomes
his flaws and triumphs in the end.
What is Tragedy?
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Aristotle's ideas about tragedy were
recorded in his book of literary theory titled
Poetics. In it, he has a great deal to say
about the structure, purpose, and intended
effect of tragedy. His ideas have been
adopted, disputed, expanded, and
discussed for several centuries now.
The following is a summary of his basic
ideas regarding the tragic hero:
Greek Heroes Share More Than
Fame...
Greek Hero Structure
The Greek nobility valued strength and
skill, for these attributes enabled the
person who possessed them to achieve
glory and honor, both in his lifetime and
after he died.
This value is known as Arête.
Hero Structure:
What's wrong with being great????
Arête = striving for excellence: Strength,
skill, courage, intelligence, insight,
ingenuity: Be the best of the best.
What is the danger of Arête?
Hero Structure:
What was the danger of Arête Again?
The hero forgets his human limitations
and thinks he’s greater than he
actually is…
Which leads to…
Hubris = excessive pride.
What is the danger of hubris?
Hero Structure:
What is the big danger of hubris?
Hero does / says something excessive without
thinking of the consequences…
Which leads to…
Até = blind, rash behavior.
Até leads to…
Hero Structure:
What the heck could Até possibly do?
I know... It could bring
Nemesis=retribution:
Gods
punish hero directly or
other humans punish him.
Either
way the hero brought
his fate upon himself through
free-will.
So What do Greek Heroes Have
in Common?
1. A
fundamental
belief in freedom
Greek Heroes, cont.
2. A supreme pride (hubris)
The tragic hero is a character of noble stature and has
greatness. This should be readily evident in the
play. The character must occupy a "high" status
position but must ALSO embody nobility and virtue as
part of his/her innate character.
Greek Heroes, cont.
3. Capacity for suffering
The hero's misfortune is not wholly
deserved, and is more severe than
his crime.
Greek Heroes, cont.
4. Strong sense of commitment
5. Not too good/ too
bad.
Though the tragic hero is preeminently great, he/she is not
perfect. Otherwise, the rest of us-mere mortals--would be unable to
identify with the tragic hero. We
should see in him or her someone
who is essentially like us,
although perhaps elevated to a
higher position in society.
Greek Heroes, cont.
6. Flaw “Hamartia”
(term used in archery to
mean, “near miss”)
Often the character's hamartia
involves hubris (defined previously
as a sort of arrogant pride or overconfidence).
Greek Heroes, cont.
7. Vigorous protest of
limitations, fate, or any
reality that doesn't quite
fit into the hero's plan.
Greek Heroes, cont.
8. At some point every hero
undergoes a major
Transformation as a result of his
conflicts and fate. This is called
the “Fall.”
Greek Heroes, cont.
9. After the Transformation, the
hero experiences some impact
(understanding). In other words,
the light bulb goes off. So the Fall
wasn't all bad, he gains wisdom
and knowlege that he never
would have gotten otherwise.
Even if he doesn’t live long
enough to apply it. 
Greek Heroes, cont.
10. The hero,
at least
partially,
chooses
his/her fate.
Greek Heroes, cont.
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The hero's downfall, therefore, is partially
her/his own fault, the result of free choice,
not of accident or villainy or some
overriding, malignant fate.
In fact, the tragedy is usually triggered by
some error of judgment or some character
flaw that contributes to the hero's lack of
perfection noted above.
Greek Heroes, cont.
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This error of judgment or character flaw is
known as hamartia and is usually
translated as "tragic flaw" (although some
scholars argue that this is a
mistranslation).
Which brings us to the
POINT
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CATHARSIS: An emotional discharge that
brings about a moral or spiritual renewal or
welcome relief from tension and anxiety.
According to Aristotle, catharsis is the
marking feature and ultimate end of any
tragic artistic work. The audience must
either feel fear or pity for the hero to
experience a release.
Which brings us to the
POINT
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CATHARSIS re-establishes order
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What ‘’lessons’’ do we take away from the work?
How are we supposed to be wiser?
What have we learned that has made us better
people and our country a better place?
Major Players in the Theater
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AEschylus, (“S’”-kahlus)(526-455 B. C.) who
wrote at least 80 plays in
his career introduced a
second actor into the
theater.
Major Players in the Theater
Euripides
(yur-rip’-ah-deez)
(480-406 B.C.) used
many actors in his
tragedies.
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Major Players in the Theater
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Aristophanes (Airra-stof’-a-knees)
(448-380 B.C.)had
essentially
eliminated the focus
on the chorus and it
had been reduced
to a small line-up
that sang reactions
to actions of the
hero.
Major Players in the Theater
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Sophocles (497-406 B. C.)
increased the number of actors
to three.
Increased the number of
chorus members to fifteen.
Was first to introduce scene
painting.
Sophocles
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Sophocles lived during the time of the highest
cultural achievement in Athens. He was well
educated. He founded a society for music and
literature. In a 60-year period, he composed
123 plays (only seven survive in their entirety).
So popular that when he first competed,
military had to be posted for security.
His career paralleled the rise and fall of the
Athenian Empire.
He won the first festival of Dionysis in which
he competed – defeated Aescylus. Won
approximately 20 times. Never won third
place.
Sophocles
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Child prodigy in the humanities.
Acted in his own plays, but quietly.
He was a priest of Alcon & Asclepius ()
Close friend of Pericles (Ruler of 5th
century Athens)
Political connections made their way
into his plays A LOT.
Sophocles
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Born and was raised in Colonus (setting
of Oedipus at Colonus)
Father very wealthy.
Married to Nicostrata, but he had, like all
Greeks, some men on the side.
Son, Iophon, took him to court for being
senile. He recited Oedipus at Colonus
to prove sanity.
Historical Perspective on Sophocles:
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Out of Sophocles’ drama came many of the
precepts of Aristotle’s Poetics (One hundred
years later)
Tragedy (as defined in The Poetics)
The imitation of an action that is serious in itself,
with incidents arousing pity and fear, for the
purpose of effecting catharsis (literally means a
cleansing) (Kartharsis) also called the tragic
vision.
How does this remind you of Antigone?
Journal Share w/ two partners
• What were your key two passages? What was
significant about them? (DISCUSS it, don’t just
read it)
• What theme did you find? What evidence
supports it? Discuss.
• Verify your literary devices with your partners.
Do the examples match the definitions? They
are either right or wrong– MAKE SURE YOU
KNOW THE DIFFERENCE!
Journal Share pt. 2
• Choose one key passage, and write it up on
the board. Choose a rich, significant passage.
• Write an example from Antigone for a literary
device on the board.
Chalk Talk!
RULES:
• No talking; only writing & reading
• Comments /questions/connections welcome
• Build off the passage and/or another’s
comments
• Make at least 2 contributions
• Write “Y” or “N” next to the lit device example
Chalk Talk!
Round 2 RULES:
• No talking; only writing & reading
• Star two comments that you think are
thoughtful/poignant/accurate/significant
Hand in your Scene 2 Journals on the way out
the door 