CN 3.1

Religious celebration

Song and Dance

Cult of Dionysus

Lesser Greek God

God of wine, fertil

ity, art

Dual nature

Joy, ecstasy&

Brutal, unthinking

rage

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

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…

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)

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)

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

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

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

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.)

Aristotle:

Purpose of tragedy

arouse unhealthy emotions (pity and fear)

watching hero’s tragic fate cleanses those emotions

bad emotions cleansed = catharsis

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

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

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

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

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

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