Theatre of ancient Greece - Weeblystewartedu.weebly.com/.../7/0/6/7706519/theatre_of_ancient_greece.pdfTheatre mask, 1st century BC The theatre of Ancient Greece, or ancient Greek

Theatre of ancient Greece 1

Theatre of ancient Greece

Theatre mask, 1st century BC

The theatre of Ancient Greece, or ancient Greekdrama, is a theatrical culture that flourished in ancientGreece between 550 BC and 220 BC. The city-state ofAthens, which became a significant cultural, politicaland military power during this period, was its centre,where it was institutionalized as part of a festival calledthe Dionysia, which honored the god Dionysus.Tragedy (late 6th century BC), comedy (486 BC), andthe satyr play were the three dramatic genres to emergethere. Athens exported the festival to its numerouscolonies and allies in order to promote a commoncultural identity. Western theatre originated in Athensand its drama has had a significant and sustainedimpact on Western culture as a whole.

Etymology

The word τραγῳδία (tragoidia), from which the word"tragedy" is derived, is a portmanteau of two Greek words: τράγος (tragos) or "goat" and ᾠδή (ode) meaning"song", from ἀείδειν (aeidein), "to sing".[1] This etymology indicates a link with the practices of the ancientDionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis fortragedy and comedy. [2]

OriginsMartin Litchfield West speculates that early studies in Greek religion and theatre, which are inter-related, especiallythe Orphic Mysteries, was heavily influenced by Central Asian shamanistic practices. A large number of Orphicgraffiti unearthed in Olbia seems to testify that the colony was one major point of contact.[3] Eli Rozik[4] points outthat the shaman, as such, is seen as a prototypical actor influencing the rituals of early Greek theatre.[5]

Panoramic view of the theatre at Epidaurus.

Greek tragedy as we know it wascreated in Athens some years before532 BC, when Thespis was the earliestrecorded actor. Being a winner of thefirst theatrical contest held at Athens,he was the exarchon, or leader,[6] ofthe dithyrambs performed in andaround Attica, especially at the ruralDionysia. By Thespis' time the dithyramb had evolved far away from its cult roots. Under the influence of heroicepic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Becauseof these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis issometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, iscredited with creating poems in which characters speak with their own voice, and spoken performances of Homer'sepics by rhapsodes were popular in festivals prior to 534 BC.[7] Thus, Thespis's true contribution to drama is unclearat best, but his name has been immortalized as a common term for performer—a "thespian."

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The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedycompetition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes ofAttica (recently created by Cleisthenes). The festival was created roughly around 508 BC. While no drama texts existfrom the sixth century BC, we do know the names of three competitors besides Thespis: Choerilus, Pratinas, andPhrynichus. Each is credited with different innovations in the field.More is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedieson themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. Hewas the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2, chronicled the fateof the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear theirdeep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled “TheFall of Miletus” and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas forbringing to mind a calamity that affected them so personally, and forbade the performance of that play forever."[8]

He is also thought to be the first to use female characters (though not female performers).[9]

Until the Hellenistic period, all tragedies were unique pieces written in honor of Dionysus and played only once, sothat today we primarily have the pieces that were still remembered well enough to have been repeated when therepetition of old tragedies became fashionable (the accidents of survival, as well as the subjective tastes of theHellenistic librarians later in Greek history, also played a role in what survived from this period).

New inventions during the Classical PeriodAfter the Great Destruction of Athens by the Persian Empire in 480 BC, the town and acropolis were rebuilt, andtheatre became formalized and an even more major part of Athenian culture and civic pride. This century is normallyregarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once inwinter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Eachsubmitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in afirst competition in 486 BC, each playwright also submitted a comedy.[10] Aristotle claimed that Aeschylus addedthe second actor, and that Sophocles introduced the third. Apparently the Greek playwrights never used more thanthree actors based on what is known about Greek theatre.[11]

Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyrplays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner. However, as theywere written over a century after the Athenian Golden Age, it is not known whether dramatists such as Sophoclesand Euripides would have thought about their plays in the same terms.

Hellenistic periodThe power of Athens declined following its defeat in the Peloponnesian War against the Spartans. From that time on,the theater started performing old tragedies again. Although its theatrical traditions seem to have lost their vitality,Greek theater continued into the Hellenistic period (the period following Alexander the Great's conquests in thefourth century BC). However, the primary Hellenistic theatrical form was not tragedy but 'New Comedy', comicepisodes about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of NewComedy's most important contributions was its influence on Roman comedy, an influence that can be seen in thesurviving works of Plautus and Terence.

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Characteristics of the buildings

The Ancient Theatre of Delphi.

The plays had a chorus from 12 to15[12] people, who performed the playsin verse accompanied by music,beginning in the morning and lastinguntil the evening. The performancespace was a simple circular space, theorchestra, where the chorus dancedand sang. The orchestra, which had anaverage diameter of 78 feet, wassituated on a flattened terrace at thefoot of a hill, the slope of whichproduced a natural theatron, literally"watching place". Later, the term"theater" came to be applied to thewhole area of theatron, orchestra, andskené. The choregos was the headchorus member who could enter thestory as a character able to interactwith the characters of a play.

A drawing of an ancient theater. Terms are in Greek language and Latin letters.

The theaters were originally built on avery large scale to accommodate thelarge number of people on stage, aswell as the large number of people inthe audience, up to fourteen thousand.Mathematics played a large role in theconstruction of these theaters, as theirdesigners had to be able to createacoustics in them such that the actors'voices could be heard throughout thetheater, including the very top row ofseats. The Greeks' understanding ofacoustics compares very favorablywith the current state of the art, as evenwith the invention of microphones,there are very few modern largetheaters that have truly good acoustics.The first seats in Greek theaters (other than just sitting on the ground) were wooden, but around 499 BC the practiceof inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. Theywere called the "prohedria" and reserved for priests and a few most respected citizens.

In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skênê (from which the word "scene" derives). The death of a character was always heard behind the skênê, for it was considered inappropriate to show a killing in view of the audience. In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skênê in the theaters. A paraskenia was a long wall with projecting sides, which may have had

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doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of thescene") was beautiful, and was similar to the modern day proscenium.Greek theaters also had tall arched entrances called parodoi or eisodoi, through which actors and chorus membersentered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, theskênê, the back wall, was two stories high. The upper story was called the episkenion. Some theaters also had araised speaking place on the orchestra called the logeion.

Scenic elementsThere were several scenic elements commonly used in Greek theater:• mechane, a crane that gave the impression of a flying actor (thus, deus ex machina).• ekkyklêma, a wheeled platform often used to bring dead characters into view for the audience• trap doors, or similar openings in the ground to lift people onto the stage• Pinakes, pictures hung to create scenery• Thyromata, more complex pictures built into the second-level scene (3rd level from ground)• Phallic props were used for satyr plays, symbolizing fertility in honor of Dionysus.

Masks

Tragic Comic Masks Hadrian's Villa mosaic.

Masks and ritual

The Ancient Greek term for a mask is prosopon (lit.,"face"),[13] and was a significant element in theworship of Dionysus at Athens, likely used inceremonial rites and celebrations. Most of the evidencecomes from only a few vase paintings of the 5thcentury BC, such as one showing a mask of the godsuspended from a tree with decorated robe hangingbelow it and dancing and the Pronomos vase,[14] whichdepicts actors preparing for a Satyr play.[15] Nophysical evidence remains available to us, as the maskswere made of organic materials and not consideredpermanent objects, ultimately being dedicated to thealtar of Dionysus after performances. Nevertheless, themask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions ofclassical Greek theater.[16]

Masks were also made for members of the chorus, who play some part in the action and provide a commentary onthe events in which they are caught up. Although there are twelve or fifteen members of the tragic chorus, they allwear the same mask because they are considered to be representing one character.

Mask details

Illustrations of theatrical masks from 5th century display helmet-like masks, covering the entire face and head, withholes for the eyes and a small aperture for the mouth, as well as an integrated wig. It is interesting to note that thesepaintings never show actual masks on the actors in performance; they are most often shown being handled by theactors before or after a performance, that liminal space between the audience and the stage, between myth andreality.[15] This demonstrates the way in which the mask was to ‘melt’ into the face and allow the actor to vanish intothe role.[17] Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performancein ancient Greece did not distinguish the masked actor from the theatrical character.

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Bronze statue of a Greek actor. The half-maskover the eyes and nose identifies the figure as anactor. He wears a man's conical cap but femalegarments, following the Greek custom of men

playing the roles of women. 150-100 BCE.

The mask-makers were called skeuopoios or “maker of the properties,”thus suggesting that their role encompassed multiple duties and tasks.The masks were most likely made out of light weight, organicmaterials like stiffened linen, leather, wood, or cork, with the wigconsisting of human or animal hair.[18] Due to the visual restrictionsimposed by these masks, it was imperative that the actors hear in orderto co-orientate and balance themselves. Thus, it is believed that theears were covered by substantial amounts of hair and not thehelmet-mask itself. The mouth opening was relatively small,preventing the mouth to be seen during performances. Vervain andWiles posit that this small size discourages the idea that the maskfunctioned as a megaphone, as originally presented in the 1960s.[15]

Greek mask-maker, Thanos Vovolis, suggests that the mask serves as aresonator for the head, thus enhancing vocal acoustics and altering itsquality. This leads to increased energy and presence, allowing for themore complete metamorphosis of the actor into his character.[19]

Mask functions

In a large open-air theater, like the Theater of Dionysus in Athens, theclassical masks were able to bring the characters' face closer to theaudience, especially since they had intensely exaggerated facialfeatures and expressions.[19] They enabled an actor to appear and

reappear in several different roles, thus preventing the audience from identifying the actor to one specific character.Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in aparticular character’s appearance, e.g. Oedipus after blinding himself [20] Unique masks were also created forspecific characters and events in a play, such as The Furies in Aeschylus’ Eumenides and Pentheus and Cadmus inEuripides’ The Bacchae. Worn by the chorus, the masks created a sense of unity and uniformity, while representing amulti-voiced persona or single organism and simultaneously encouraged interdependency and a heightenedsensitivity between each individual of the group. Greek theatre has many unique conventions. Only 2-3 actors wereallowed on the stage at one time, which meant that masks provided an efficient solution to quick transitions from onecharacter to another. Masks were a great way of playing female characters since only male actors were allowed.

Other costume details

The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors.The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimesalluded to as “Sock and Buskin.”When playing female roles, the male actors donned a “prosterneda” (a wooden structure in front of the chest, toimitate female breasts) and “progastreda” in front of the belly.Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is themuse of comedy and is similarly associated with the mask of comedy and the comedic "socks".

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References[1] Merriam-Webster definition of tragedy (http:/ / m-w. com/ dictionary/ tragedy)[2] William Ridgeway, Origin of Tragedy with Special Reference to the Greek Tragedians, p. 83[3] M.L. West, The Orphic Poems, Oxford: Clarendon Press, 1983. ISBN 0-19-814854-2. Cf. p.146.[4] Dr. Eli Rozik page (http:/ / www. tau. ac. il/ ~rozik/ abs. html) – Tel Aviv University[5] Rozik, Eli, The roots of theatre: rethinking ritual and other theories of origin (http:/ / books. google. com/ books?id=aGG40fhg6usC&

printsec=frontcover), Iowa City: University of Iowa Press, 2002. ISBN 0-87745-817-0. Cf. especially Chapter 4: The Shamanistic Source.[6] Aristotle, Poetics[7] Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 2000. Pp. 16–17[8] Herodotus, Histories, 6/21 (http:/ / perseus. uchicago. edu/ hopper/ text. jsp?doc=Perseus:text:1999. 01. 0126:book=6:chapter=21)[9][9] Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 1999. USA. p.17[10][10] Paul Kuritz, The making of theatre history, Englewood Cliffs 1988, p.21[11][11] Kuritz, p. 24[12] Paper on the Athens Theater (http:/ / content. grin. com/ data/ 7/ 27040. pdf)[13] Liddell & Scott via Perseus @ UChicago (http:/ / perseus. uchicago. edu/ cgi-bin/ philologic/ getobject. pl?c. 62:2:190. LSJ)[14] Tufts.edu (http:/ / www. perseus. tufts. edu/ cgi-bin/ image?lookup=1993. 01. 0669)[15] Vervain, Chris and David Wiles, “The Masks of Greek Tragedy as Point of Departure for Modern Performance.” New Theater Quarterly 67,

Cambridge University Press: Cambridge, 2004. p.255[16] Varakis, Angie. “Research on the Ancient Mask,” Didaskalia, Vol. 6.1 Spring 2000, Didaskalia.net (http:/ / www. didaskalia. net/ issues/

vol6no1/ varakis. html)[17] Vervain, Chris and David Wiles, “The Masks of Greek Tragedy as Point of Departure for Modern Performance.” New Theater Quarterly 67,

Cambridge University Press: Cambridge, 2004. p.256[18] Brooke, Iris. “Costume in Greek Classical Drama.” Methuen, London: 1962. p.76[19] Vovolis, Thanos and Giorgos Zamboulakis. “The Acoustical Mask of Greek Tragedy.” Didaskalia Vol. 7.1 Didaskalia.net (http:/ / www.

didaskalia. net/ issues/ vol7no1/ vovolis_zamboulakis. html)[20] Brockett, Oscar G. and Robert Ball. “The Essential Theater.” 7th Ed. Harcourt Brace, Orlando: 2000. p.70].

Additional Literature• Brockett, Oscar G. and Robert Ball. The Essential Theatre. 7th Ed. Harcourt Brace, Orlando: 2000• Brooke, Iris. Costume in Greek Classical Drama. Methuen, London: 1962• Buckham, Philip Wentworth, Theatre of the Greeks (http:/ / books. google. com/ books?id=IjAZAAAAYAAJ&

printsec=frontcover& dq=The+ Theatre+ of+ the+ Greeks), London 1827.• Davidson, J.A., Literature and Literacy in Ancient Greece, Part 1, Phoenix, 16, 1962, pp. 141–56.• ibid., Peisistratus and Homer, TAPA, 86, 1955, pp. 1–21.• Easterling, P.E. (editor) (1997). The Cambridge Companion to Greek Tragedy (http:/ / books. google. com/

books?id=Fy4iSjY2VTYC& printsec=frontcover). Cambridge, U.K.: Cambridge University Press.ISBN 0-521-41245-5.

• Easterling, Patricia Elizabeth; Hall, Edith (eds.), Greek and Roman Actors: Aspects of an Ancient Profession(http:/ / www. cambridge. org/ catalogue/ catalogue. asp?isbn=0521651409), Cambridge University Press, 2002.ISBN 0-521-65140-9

•• Else, Gerald P.• Aristotle's Poetics: The Argument, Cambridge, MA 1967.• The Origins and Early Forms of Greek Tragedy, Cambridge, MA 1965.• The Origins of ΤΡΑΓΩΙΔΙΑ, Hermes 85, 1957, pp. 17–46.

• Flickinger, Roy Caston, The Greek theater and its drama (http:/ / books. google. com/books?id=Cqaw6MwOX7AC& printsec=frontcover), Chicago, University of Chicago Press, 1918

• Freund, Philip, The Birth of Theatre, London: Peter Owen, 2003. ISBN 0-7206-1170-9• Haigh, A.E., The Attic Theatre, 1907.• Harsh, Philip Whaley, A handbook of Classical Drama, Stanford University, California, Stanford University

Press; London, H. Milford, Oxford University Press, 1944.• Lesky, A. Greek Tragedy, trans. H.A., Frankfurt, London and New York 1965.

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• Ley, Graham. A Short Introduction to the Ancient Greek Theatre. University of Chicago, Chicago: 2006• Loscalzo, D. Il pubblico a teatro nella Grecia antica, Roma 2008• McDonald, Marianne, Walton, J. Michael (editors), The Cambridge companion to Greek and Roman theatre,

Cambridge ; New York: Cambridge University Press, 2007. ISBN 0-521-83456-2• Moulton, Richard Green, The ancient classical drama; a study in literary evolution intended for readers in

English and in the original, Oxford, The Clarendon Press, 1890.• Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society" (http:/ / books.

google. com/ books?id=-0JVScga2oYC& printsec=frontcover& dq=rites+ of+ passage+ in+ ancient+ greece),Bucknell University Press, 1999. ISBN 0-8387-5418-X

•• Pickard-Cambridge, Sir Arthur Wallace• Dithyramb, Tragedy, and Comedy , Oxford 1927.• The Theatre of Dionysus in Athens, Oxford 1946.• The Dramatic Festivals of Athens, Oxford 1953.

• Rabinowitz, Nancy Sorkin (2008). Greek Tragedy. Malden, MA: Blackwell Publishers.ISBN 978-1-4051-2160-6.

• Ridgeway, William, Origin of Tragedy with Special Reference to the Greek Tragedians, 1910.• Riu, Xavier, Dionysism and Comedy, 1999. review (http:/ / ccat. sas. upenn. edu/ bmcr/ 2000/ 2000-06-13. html)• Ross, Stewart. Greek Theatre. Wayland Press, Hove: 1996• Rozik, Eli, The roots of theatre: rethinking ritual and other theories of origin (http:/ / books. google. com/

books?id=aGG40fhg6usC& printsec=frontcover), Iowa City: University of Iowa Press, 2002. ISBN0-87745-817-0

• Schlegel, August Wilhelm, Lectures on Dramatic Art and Literature (http:/ / www. gutenberg. org/ etext/ 7148),Geneva 1809.

• Sommerstein, Alan H., Greek Drama and Dramatists (http:/ / books. google. com/ books?id=GDtcVHeBO_4C&printsec=frontcover& dq=greek+ drama+ and+ dramatists), Routledge, 2002.

• Sourvinou-Inwood, Christiane, Tragedy and Athenian Religion, Oxford:University Press 2003.• Varakis, Angie. “Research on the Ancient Mask” (http:/ / www. didaskalia. net/ issues/ vol6no1/ varakis. html),

Didaskalia, Vol. 6.1 Spring 2004, .• Vervain, Chris and David Wiles, The Masks of Greek Tragedy as Point of Departure for Modern Performance.

New Theatre Quarterly 67, Cambridge University Press: Cambridge, 2004.• Vovolis, Thanos and Giorgos Zamboulakis. The Acoustical Mask of Greak Tragedy (http:/ / www. didaskalia. net/

issues/ vol7no1/ vovolis_zamboulakis. html), Didaskalia Vol. 7.1.• Wiles, David. Greek Theatre Performance: An Introduction. Cambridge University Press, Cambridge: 2000• ibid. The Masks of Menander: Sign and Meaning in Greek and Roman Performance, Cambridge, 1991.• ibid. Mask and Performance in Greek Tragedy: from ancient festival to modern experimentation, Cambridge,

1997.• Wise, Jennifer, Dionysus Writes: The Invention of Theatre in Ancient Greece, Ithaca 1998. review (http:/ / www.

utpjournals. com/ product/ utq/ 691/ writers34. html)• Zimmerman, B., Greek Tragedy: An Introduction, trans. T. Marier, Baltimore 1991.

Theatre of ancient Greece 8

External links• Ancient Greek theatre history and articles (http:/ / www. theatrehistory. com/ ancient/ greek. html)• Drama lesson 1: The ancient Greek theatre (http:/ / www. iolani. org/ usacad_eng_eng10dterms_cw9404. htm)• Ancient Greek Theatre (http:/ / www. greektheatre. gr/ )• The Ancient Theatre Archive, Greek and Roman theatre architecture (http:/ / www. whitman. edu/ theatre/

theatretour/ home. htm) – Dr. Thomas G. Hines, Department of Theatre, Whitman College• Greek and Roman theatre glossary (http:/ / www. whitman. edu/ theatre/ theatretour/ glossary/ glossary. htm)• Illustrated Greek Theater (http:/ / people. hsc. edu/ drjclassics/ lectures/ theater/ ancient_greek_theater. shtm) –

Dr. Janice Siegel, Department of Classics, Hampden-Sydney College, Virginia• Searchable database of monologues for actors from Ancient Greek Theatre (http:/ / www. actorama. com/

monologues/ ancient-greek-plays. html)• Logeion: A Journal of Ancient Theatre with free access which publishes original scholarly articles including its

reception in modern theatre, literature, cinema and the other art forms and media, as well as its relation to thetheatre of other periods and geographical regions. (http:/ / www. logeion. upatras. gr)

Article Sources and Contributors 9

Article Sources and ContributorsTheatre of ancient Greece  Source: http://en.wikipedia.org/w/index.php?oldid=509951757  Contributors: -Midorihana-, 10metreh, 123456789951, 1qwert6, 21655, 5 albert square, 9cds, ANobody, ABarnett, AP Shinobi, Acdciswin, Adam Bishop, Adambro, Addihockey10, Addydaddy, Ahoerstemeier, Aitias, Akhilleus, Akulo, Al-Iskandar Tzaraath, Alansohn, Aldux, Ale jrb,Aleenf1, Alexandros, AlexiusHoratius, Alicefalconer, Allens, Allstarecho, AlphaEta, Amit A., Amplitude101, Anaxial, Andrea105, AndreasPraefcke, Andres, Andrewrp, Anetode,Angelic-alyssa, Antandrus, Antiuser, Apollo, Arakunem, Arda Xi, Argelfraster, Aristophanes68, Arne Saknussemm, Artaxiad, Artoasis, Artyom, AshcroftIleum, Ashmedai 119, Asparagus,Astral, Atremorer, Attilios, AuburnPilot, Ayla, Aymatth2, BACbKA, BTLizard, Babypiglet9860, Backslash Forwardslash, Badgernet, Barneyboo, Bart133, Barticus88, Benfleming360, Bensin,Betterusername, Bhadani, Bigbthatsme, Bigtx1n, Bill52270, Bishonen, Blanchardb, 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