u2 1a ppt antigone
TRANSCRIPT
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CN 3.1
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Religious celebration
Song and Dance
Cult of Dionysus
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Lesser Greek God
God of wine, fertil
ity, art
Dual nature
Joy, ecstasy&
Brutal, unthinking
rage
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By 5th/4th century BCE, City Dionysia/Festival of Dionysus is spectacular event
Lasts several days; businesses suspended, prisoners released on bail (remains religious celebration)
Each day: 3 tragedies, 1 comedy compete
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6th century BCE: Thespis steps out of chorus, becomes first actor
“Thespian” = Actor
Aeschylus adds a second actor…drama!
Two actors means more complex plots, evolve from elaborate hymns to true plays
Sophocles adds third actor, enabling more complexity
Drama Dramatic competitions honoring…
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Much work was lost; what was left is attributed to:
Three great tragedians:
Aeschylus (525 – 426 BCE)
Sophocles (496 – 406 BCE)
Euripides (485 – 406 BCE)
Comedians:
Aristophanes (450 – 385 BCE)
Meander (342 – 290 BCE)
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According to Aristotle (384 – 322 BCE), tragedy is defined as:
“…an imitation of an action that is serious, complete, and of a certain magnitude...”
(Poetics Book 6.2)
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A serious play in which the chief character –tragic hero – passes through a series of misfortunes leading to a final, devastating catastrophe
Downfall results from some combination of : hamartia (tragic flaw), fate, and gods
May achieve anagnorisis – revelation or recognition of prior ignorance
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Again, according to Aristotle in Poetics:
Tragic Hero of noble stature/high status
Great – but not perfect
Imperfection (hamartia) is part of what leads to downfall
Tragic Hero’s punishment exceeds the crime
Downfall ≠ pure loss – there is some increased awareness on hero’s part (anagnorisis)
Not intended to depress audience but to facilitate catharsis
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Hamartia = Tragic Flaw
Ironic: the flaw that makes him/her human is both an asset and contributes to his/her downfall
Often involves hubris: arrogant pride/over-confidence
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Tragedy is not purely tragic
Hero need not die, must undergo a change in fortune
May achieve anagnorisis
“knowing again,” “knowing back,” knowing throughout”
Essentially a change from ignorance to awareness (about fate, destiny, gods’ will, etc.)
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Aristotle:
Purpose of tragedy
arouse unhealthy emotions (pity and fear)
watching hero’s tragic fate cleanses those emotions
bad emotions cleansed = catharsis
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Prologue – provides exposition
Parados – opening song or ode
First Episode/Scene,
First Stasimon/Ode
o “strophe” = turning, circling
o “antistrophe” – counter-turning, circling
(Repeat Episode/Stasimon x4)
(Last stasimon may be Paean – song of praise)
Exodos – final exiting scene
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Chorus used to divide scenes through song that relates to the action of the previous scene
Chorus represents a certain element of the population
“Choragos” is the leader of the chorus, serves as another character in the play
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3 actors, chorus (no women)
Highly stylized
Large, elaborate masks
Large, flowing robes
Song and dance (usually chorus)
Action confined to 24 hours
Non-naturalistic passage of time
No violence/blood on stage
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Written ≈ 442 B.C.E.
Third (chronologically) in The Theban Plays:
Oedipus the King
Oedipus at Colonus
AntigoneAnti = “against,” gone = “birth” (daughter of incest)
Also translated as “unbending”
Takes place in Thebes, Greece
Chorus represents Theban elders
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Play’s context:
During the time Antigone is meant to take place, Greece is organized by Kingdoms, ruled by monarchies
Loyalties family ties and clans
Sophocles’ context:
At the time the play was presented, Greece has converted to city-states, ruled by democracies
Loyalties shifting geographical units
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http://faculty.gvsu.edu/websterm/Tragedy.htm
http://vccslitonline.cc.va.us/tragedy/aristotle.htm
www.ancientgreece.com
www.ancientgreece.org
www.cartage.org
www.heritage-history.com