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  • Chapter 6: Greek Classical Theatre · 2006. 9. 28. · Chapter 6: Greek Classical Theatre Overview of Greek Drama • the earliest known type of comic drama is the Satyr Play •
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Chapter 6 : Greek Classical Theatre Overview of Greek Drama • Tragedy and Satyr Plays emerge at the same time in late pre-Classical Athens – but in retrospect, Tragedy seems to come first • the works of only three Major Classical Tragedians survive: – Aeschylus (525-456 BCE) – Sophocles (495-406 BCE) – Euripides (485-406 BCE)

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  • Chapter 6: Greek Classical Theatre

    Overview of Greek Drama• Tragedy and Satyr Plays emerge at the

    same time in late pre-Classical Athens– but in retrospect, Tragedy seems to come first

    • the works of only three Major Classical Tragedians survive:– Aeschylus (525-456 BCE)– Sophocles (495-406 BCE) – Euripides (485-406 BCE)

  • Chapter 6: Greek Classical Theatre

    Overview of Greek Drama• the earliest known type of comic drama is

    the Satyr Play• “Old Comedy” is first presented at the

    Dionysia in 486 BCE• first extant Old Comedies are by

    Aristophanes (mid-400’s – 386 BCE)– Cratinus (active from 440’s-420’s BCE) – Eupolis (active ca. 429-410 BCE)

  • Chapter 6: Greek Classical Theatre

    Overview of Greek Drama• in the post-Classical period (after 404

    BCE) tragedy begins to decline• comedy dominates Greek theatre

    – Middle Comedy (390’s- 320’s BCE)– New Comedy (after the 320’s BCE)

    • the greatest playwright of New Comedy was Menander (344-291 BCE)– but his work survives largely on papyrus

  • Chapter 6: Greek Classical Theatre

    Where were plays produced in antiquity?

    • Can we expect to find specially built “theatres” for the earliest dramas?

    • What should we look for in early venues where drama might have happened? – space for acting/impersonation– space for seating/viewing

  • Knossos (Crete)

  • Knossos (Crete)

  • Reconstruction of Knossos

  • Open Space at Knossus

  • Open Space at Knossus

  • Open Space at Knossus

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (Athens)

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (Athens)ORCHESTRA SKENE

    THEATRON

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (Athens)

    ORCHESTRA

    THEATRON

    SKENE

  • Chapter 6: Greek Classical Theatre

    Theatre of Thorikos (orchestra)

  • Chapter 6: Greek Classical Theatre

    Theatre of Thorikos (orchestra)

  • Chapter 6: Greek Classical Theatre

    Theatre of Thorikos (orchestra)

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (theatron)

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (theatron)

  • Chapter 6: Greek Classical Theatre

    Theatre of Dionysus (theatron)

  • Chapter 6: Greek Classical Theatre

    Skene

  • Chapter 6: Greek Classical Theatre

    Skene

  • Chapter 6: Greek Classical Theatre

    Special EffectsEkkyklema: a rolling platform

  • Chapter 6: Greek Classical Theatre

    Special EffectsMechane: a crane used to lift actors into the

    air and fly them across the stage• not necessary in plays until the 420’s BCE

    – but the end of Euripides’ Medea (431 BCE)?• how did it work, e.g. actor twisting on rope?• when not in use, was it hidden from view?

    – i.e. how illusionistic was Classical Greek theatre

  • Chapter 6: Greek Classical Theatre

    How were Greek tragedies presented?

    • How many at a time?– Trilogies– actually tetralogies: 3 tragedies + satyr play

    • In what style? – Little opportunity for Interiority– Presentationalism

    • cf. courtroom trials

  • Chapter 6: Greek Classical Theatre

    How were Greek tragedies presented?

    • Who paid for the production?– Choregos (“producer”)– a rich man required to do public service

    • What was the playwright’s job? – Chorodidaskalos (“chorus-teacher”)– i.e. he taught the songs/dances to the chorus– and originally he acted in the play himself

  • Chapter 6: Greek Classical Theatre

    Masks

  • Chapter 6: Greek Classical Theatre

    Masks• masks allow for multiple-role playing• three-actor rule

    – protagonist– deuteragonist– tritagonist

    • why only three?

  • Chapter 6: Greek Classical Theatre

    Voices• must have been the actor’s principal tool

    – cf. modern opera singers• how difficult would it have been for the

    audience to know which actor was speaking at any moment?– with masked actors at some distance– thus, few trialogues, and all are found in later

    Classical tragedy

  • Chapter 6: Greek Classical Theatre

    Stichomythy (“line-talking”)• predictable pattern of conversation based

    on poetic meter• e.g. Euripides’ Hippolytus (347-352)

    Phaedra:  What thing is this that men call love? Nurse:  It’s sweetest, child, and bitter too.Phaedra:   I’ve only known the latter, Nurse.Nurse:      What’s that? Oh, you’re in love? With whom?Phaedra:  That man, born from an Amazon . . .Nurse:      Hippolytus? . . . Phaedra:   . . . Quoth you, not I!

  • Chapter 6: Greek Classical Theatre

    The Finale of Euripides’ Orestes

    Chorus in Orchestra

    Oresteson roof

    of skene,with mutes

    playingother roles

    Apollo(the sun)

    Apollo onmechane,with mute

    Helen

    Menelauson stage, with army

    (secondarychorus)

    Chapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreKnossos (Crete)Knossos (Crete)Reconstruction of KnossosOpen Space at KnossusOpen Space at KnossusOpen Space at KnossusChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical TheatreChapter 6: Greek Classical Theatre


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