Greek Drama
The Origins of Tragedy and Comedy
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The Greeks drove out their non-Greek neighbors from the Peloponnesian Penisula in
the 6th C BC. Afterwards, they had a good deal of time on their hands to consider
the big questions of life.
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Tragedy comes from the Greek roots trag meaning ‘goat’ and odia meaning ‘song’.
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What do goats have to do with it? A lot, actually.
The first plays were devoted to the god Dionysus, the god of wine, merriment and
general debauchery.
Dionysus’s mythical symbols were the satyrs, lusty men with goats legs who
symbolized sexuality and freedom.
Our word satire is derived from satyr, and the earliest plays featured actors
dressed in goat skins playing these creatures.
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Aristotle defined Tragedy in his Poetics thusly:
“ tragedy is therefore an imitation (that means representation on scene) of a
significant and integrated action, which has a certain duration, is characterized by
speech with ornament style, the parts of which differ in their form, that is
depicted actively (on scene) and is not (just) recited, which causing spectator's
sympathy and fear redeems him from similar emotional circumstances.”
That is there must be an emotional cleansing for the audience at the end. For this
Aristotle coined the term Catharsis.
Ancient Greek Idol
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The earliest form of drama was called a dithryamb, which was a choral ode sung to
Dionysus, usually sung by a group of 20 boys in various costumes.
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Different cities would gather to compete in singing competitions which were
dedicated to Dionysus.
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The judges would decide the winner based on the audience’s reaction.
Parts of the Greek Theatre
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All plays were performed outside. Early Greek theaters were probably little more
than open areas in city centers or next to hillsides where the audience, standing or
sitting, could watch and listen to the chorus singing about the exploits of a god or
hero.
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Orchestra: The orchestra (literally, "dancing space") was normally circular. It was a
level space where the chorus would dance, sing, and interact with the actors who
were on the stage near the skene. The earliest orchestras were simply made of
hard earth, but in the Classical period some orchestras began to be paved with
marble and other materials. In the center of the orchestra there was often a
thymele, or altar. The orchestra of the theater of Dionysus in Athens was 20
meters in diameter.
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Theatron: The theatron (literally, "viewing-place") is where the spectators sat. The
theatron was usually part of hillside overlooking the orchestra, and often wrapped
around a large portion of the orchestra (see the diagram above). Spectators in the
fifth century BC probably sat on cushions or boards, but by the fourth century the
theatron of many Greek theaters had marble seats.
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Skene: The skene (literally, "tent") was the building directly behind the stage.
During the 5th century, the stage of the theater of Dionysus in Athens was
probably raised only two or three steps above the level of the orchestra, and was
perhaps 25 feet wide and 10 feet deep. The skene was directly in back of the
stage, and was usually decorated as a palace, temple, or other building, depending on
the needs of the play. It had at least one set of doors, and actors could make
entrances and exits through them. There was also access to the roof of the skene
from behind, so that actors playing gods and other characters (such as the
Watchman at the beginning of Aeschylus' Agamemnon) could appear on the roof, if
needed.
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Parodos: The parodoi (literally, "passageways") are the paths by which the chorus
and some actors (such as those representing
messengers or people returning from abroad)
made their entrances and exits. The audience
also used them to enter and exit the theater
before and after the performance.
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Eisodos: The Eisodoi were the entrances between the Orchestra and the Parodoi
where the main actors made their entrances and exits.
The Actors
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Only a few actors were used and all played more than one part
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No women, female parts were played by young actors who wore wooden breastplates
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Masks were worn for many characters; so actors had to change masks off stage
when they switched characters
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Few props were used, usually only one or two for each play. They would be
something important like a hero’s sword or a ceremonial wine challis.
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Initially a lot of mime and exaggerated movements were used. The theatres were
so large that subtlety was not perceptible to the audience. Later actors relied on
their voices (which they trained extensively) and delivered lines in a highly stylized
manner.
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Most plays were performed in competitions, where prizes were given for the top
playwrights, actors and chorus performances.
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Elaborate staging was used for the dancers and singers especially.
Common Divisions in the Play
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Unlike modern Drama, the Greeks did not have Acts to divide their plays. Plays were
intended to be shown straight through, with no intermission.
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Prologue: A scene which introduces the play and establishes setting and major
characters. At least one main character usually appeared.
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Parados: (CF “parade”) The first entrance of the Chorus who would enter singing
the ode.
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Episode: The meat of the play, sandwiched between the choral Stasimon where all
of the action happens. Similar to an Act, but shorter, usually about 150-250 lines.
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Stasimon: The choral odes in between the Episodes. The Chorus re-enters and gives
commentary on the previous Episode. Usually highly poetic and symbolic language.
Playwrights often used the Chorus to create Dramatic Irony by revealing
information to the audience that the characters are not aware of.
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Exodos: The final section of the play, where the Chorus is usually led off stage. In
a tragedy, this is usually the part where the catharsis occurs.
Background to Antigone
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Written by Sophocles around 441 BC.
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Part of the “Three Theban Plays” The others are Oedipus the King, and Oedipus at
Colonus
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Antigone is chronologically the last of the plays, but was written first.
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Established Sophocles as the dominant playwright in Greece over Aeschylus. He
was even made an honorary general of the Athenian army based on the popularity of
the play.
In order to understand the events in Antigone, it is necessary to understand some the plot
of the two plays which come before it.
Oedipus Rex
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Oedipus (literally “swollen foot”) is a mythical character. When he was born, the
oracle told his father King Laius of Thebes that his son would kill him and marry his
mother.
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To avoid this peculiar fate, Laius did the only logical thing and took his baby son out
to a windswept mountain and nailed his feet to the ground and left him for dead.
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Oedipus is found by a shepherd and raised in the court of King Polybus of Corinth.
However he hears of the prophecy through a seer, and leaves Corinth to avoid this
fate (he believes the King and Queen are his true parents).
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On the road he accidentally meets King Laius and, not recognizing him, kills him.
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He then solves the riddle of the Sphinx and is rewarded by Creon (brother of Laius
and uncle to Oedipus) with the kingdom of Thebes and the hand of Jocasta (his
mother!!)
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They have some kids (eww): two sons (Eteocles and Polyneices) and two daughters
(Antigone and Ismene)
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A plague descends on Thebes, a curse from the gods for all this incest. The famous
seer Tiresias tells Oedipus he is the cause, but Oedipus doesn’t understand and
instead accuses Creon of plotting with Jocasta to overthrow him.
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Eventually the truth is revealed, Jocasta hangs herself, Oedipus puts out his own
eyes with needles and is led offstage in the Exodos by Antigone “his beard bedewed
with eyeballs”!
Oedipus at Colonus
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Antigone leads Oedipus to Colonus. The villagers tell them they must leave since
this place is sacred to the Furies. Oedipus recognizes this from the prophecy which
said that he would die in a place sacred to them.
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Oedipus entreats the King of Colonus, Theseus, to allow him to stay, pleading that
morally he has committed no crime. The chorus decides to reserve judgement.
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Ismene comes and says that Eteocles has seized the throne from his brother
Polyneices. Polyneices has gotten support from the Argives and is coming back to
battle. Both brothers have heard that victory will be determined by where their
father is buried (!?). Creon’s plan is to bury Oedipus outside of Thebes with no
burial rites (CF Antigone) so the oracle’s prophecy will have no power. Oedipus
curses both sons for their disrespect and says that only his daughters are
honorable.
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Because Oedipus trespassed on the holy ground, the villagers tell him that he must
perform certain rites to appease them. Ismene volunteers to go perform them for
him, and departs. Meanwhile, the chorus questions Oedipus once more, desiring to
know the details of his incest and parricide. Theseus enters, and in contrast to the
prying chorus states, "I know all about you, son of Laius.” He sympathizes with
Oedipus, and offers him unconditional aide, causing Oedipus to praise Theseus, and
offer him the gift of his burial site, which will ensure victory in a future conflict
with Thebes.
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Creon, who is the king of Thebes, comes to Oedipus and feigns pity for him and his
children, telling him that he should return to Thebes. Oedipus is horrified, and
recounts all of the harms Creon has inflicted on him. Creon is angry, and seizes
Ismene and Antigone. His men begin to carry them off toward Thebes. The chorus
attempts to stop him, and calls for Theseus, who comes from sacrificing to Poseidon
to condemn Creon, telling him, "You have come to a city that practices justice, that
sanctions nothing without law.“ Creon replies by condemning Oedipus, saying "I knew
[your city] would never harbor a father-killer...worse, a creature so corrupt,
exposed as the mate, the unholy husband of his own mother." Oedipus, infuriated,
declares once more that he is not morally responsible for what he did. Theseus
leads Creon away to retake the two girls. The Athenians overpower the Thebans
and return both girls to Oedipus. Oedipus moves to kiss Theseus in gratitude, then
draws back, acknowledging that he is still polluted.
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Polyneices comes to see Oedipus who forgives him. Antigone urges Polyneices not
to attack his brother, but he will not be dissuaded and storms off.
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After much drama, Oedipus finally dies and everyone has nice things to say about
him. Anitgone returns to Thebes, hoping to stop the Polyneices and the “Seven
against Thebes” of the Argive army…
Antigone
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Begins after the battle at Thebes where the Argives have been routed and
both Polyneices and Eteocles have been killed.
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Creon is now king and decrees that Polyneices is a traitor and should not
receive the proper burial rites…