THE ANCIENT THEATRE

The ancient theatre was born in Athens during the 6th Olympiad BC (536-532) when the poet Thespis from Icaria in Attica began a dialogue with the leader of the dancers (chorus) who were celebrating the Great Dionysia, a feast dedicated to god Dionysos.

Descended from "dithyramvos" (a chorus‘ song which was characterized as a Dionysos‘ song), the Dramatic Poetry or Drama was born in Attica, where the historical and political conditions and the institution of democracy helped it grow, expand and where it was crystalized, creating in the 5th century BC the three following sorts:

TRAGEDY:

In a tragedy was described a historical or mythical event which had a tragic ending.

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COMEDY:

It started from vulgar jokes coming from the area of Megara. In comedy was tried to ridicule people and political, social and moral conditions in order via laugh to critisize. The themes were taken from every day life’s situations.

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SATYRA:

It was a pleasant and popular spectacle having all the external characteristics of a tragedy but its aim was to provoke the laugh and not to teach as tragedy or comedy did. In satyra the spectators came across once again with the "Satyrs" (from which derives the name of satyra) who were also members of the chorus.

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The first themes had to do with the life and the myth of the god Dionysos. Dionysos became the patron god of Dramatic Poetry. Soon did the poets search for themes inspired by the recent history of Athens and the reality.

 

Aristotle (384-322 BC) gives the definition of tragedy in his book "The Politics":

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The Greek Drama was very important in the lives of the ancient Greeks and the theatrical presentations were considered as a big event. The rich Athenians - during the golden era of Pericles (5th century BC) - were considered to be honoured if they were appointed to sponsor the play during a "dramatic game" (paying for the costumes, the fee of the actors, of the chorus and of the tragic poet) with the "horigies". The state was paying the entry ticket to the poors. The theatre was considered to be a kind of "school" that everyone had to attend. The spectators knew in advance the plot of the play.

During the dramatic games, all the poets who have taken part, had to present three tragedies and one satyra always in the end, for making the spectacle more pleasant.

The winnor was crowned with an olive branch and his name and the one of the sponsor and of the political lords of that period were written on a marble column.

The actors were always men and they were disguised into the heroes that they acted. They were wearing maks on their faces (ususally made of clay), big shoes, the "cothornus" and stuffed clothes for giving a majestic impression to the spectators and for being clearly visible even to the spectators sitting on the last rows.

 

The most known tragic poets from whom only some plays have survived are:
  • AESCHYLUS (525-456 BC) :

He was born at Eleusis.

He was deeply religious man and in his plays represented the human beings as titanic figures with capacities that exceeded the human standards.

His survived plays are: Perse, Prometheus in chains, the Eumenides, the seven at Theva, the suppliant women, Orestes (a trilogy):

  • SOPHOCLES (496-406 BC) :

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Born at Colonus, his contribution to the development of Greek Drama was great. Many were his innovations such as establishing the presence of a third actor, increasing the number of members of the chorus from 12 to 15 and improving the stage designs. He was religious as well and believed in "man creates himself" to the degree that the gods leave man free to choose and of course to suffer the consequences of his choice, which affects not only his own fate but also those of his fellow-men.

From his enormous oeuvre of 130 plays, only seven tragedies have survived:

Oedipus at Colonus, Antigone, Oeudipus Rex, Ajax, Women of Trachis, Philoctetes, Electra.

  • EURIPIDES (485-406 BC) :

Born on the island of Salamina, he lived during the golden century of Pericles and wrote his plays during the Pelopponesian war. He died at Pella of Macedonia while he was invited by the king Archelaos. As a man, he was characterised as heathen, chauvinist towards women, lonely and realistic and as a poet "the most tragic among the tragic poets" and as a philosopher on the scene. His heroes were free, tragic, everyday human beings, responsible for their fates. He presented his heroes exactly as they were with all their weeknesses.

Bacchae, Medea, Ifigenia at Taures, Ifigenia at Aulides, Helen, Troades, Andromache, Orestes, Cyclope, Heracles in rage, Alcestes, Hippolytus, Heraclida, Hecuba, the suppliant women, Ion, Electra, Phoinissai, Ressos.

  • ARISTOFANES (445-385 BC) :

He critisized the morality of his epoque, and the political situation.

He wrote comedies such as Lysistrates, the clouds (against Socrates), the birds etc.

 

 

 

The architectural form of the Classical theatre was the following:

the Classical theatre

 

The cavea or auditorium containing the tiers of seats for the audience, was designed with great skill to ensure its adaptation to the landscape, superb acoustics and the easy mouvement of the spectators. In the front rows, luxurious marble seats were installed for eminent public figures.

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The orchestra was the round place between the cavea and the skene where chorus and actors exchanged the dialogues with the lyric versus. In the middle of the orchestra was an altar called "thymeli" dedicated to the god Dionysos.

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The skene acquired a monumental aspect and was decorated with painted panels, each time related to the work performed, representing either a palace or a temple.

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The entrances from the right and left side to the orchestra (as they were faced by the spectators) indicated the place from where the heroes were coming. The right entrance was a sign that they were coming from the palace or the town and the left from the fields, the port or another town.

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Three of the most well preserved theatres in Greece are the following:

  • HERODES ATTICUS AUDITORIUM: Under the shadow of the Acropolis and in a short distance from the theatre of Dionysos, Herodes Atticus was built as covered theatre (odeum) for 5.000 spectators in AD 160. Now restored it is used for artistic events of the Athens Festival.
  • THEATRE OF DION: Located in the area of Macedonia and though the surviving theatre is of Hellenistic times, it occupies the same site as the Classical one. Built on an artificial embankment beside the sancturary of Dionysos, the theatre has a large stone skene and brick-built seats. The underground passage for appearances from Hades (the Underworld) is preserved. The Olympos Festival is held here in the summer.
  • THEATRE OF EPIDAURUS: Located in the area of ancient Epidaurus, this theatre can accommodate an audience of 14.000. With its superb acoustic, the ancient Greeks considered the theatre in the sanctuary of Asclepius, created by the architect Polycleitus, the most beautiful and harmonius one.

 

 

 

AESCHYLUS (525-456 BC)
THE EUMENIDES

Verse 526 – 536, 681 – 694

ATHENE
If it please you, men of Attica, hear my decree
now, on this first case of bloodletting I have judged.
For Aegeus‘ population this forevermore
shall be the ground where justices deliberate...

...So this rock is named
from then the Hill of Ares. Here the reverence
of citizens, their fear and kindred do-no-wrong
shall hold by day and in the blessing of night alike
all while the people do not muddy their own laws
with foul infusions. ...

...No anarchy, no rule of a single master. Thus
I advise my citizens to govern and to grace;
And not to cast fear utterly from your city. What
Man who fears nothing at all is ever righteous? ...

CHORUS
Refuse the life of anarchy;
refuse the life devoted to
one master.
The in-between has the power
by God’s grant always, though
his ordinances vary.
I will speak in defence
of reason: for the very child
of vanity is violence;
but out of health
in the heart issues the beloved
and longed-for, prosperity. ..
.
 

 

EURIPIDES (484-406 BC)
THE SUPPLIANT WOMEN

Verse: 400 – 450

HERALD
What man is master in this land? To whom
must I give the word I bring from Creon, ruler
in Cadmus‘ country since Eteocles
fell at his brother Polynices‘ hand
beside the seven-mouthed gates?

THESEUS
One moment stranger.
Your start was wrong, seeking a master here.
This city is free, and ruled by no one man.
The people reign, in annual succession.
They do not yield the power to the rich;
The poor man has an equal share in it.

HERALD
That one point gives the better of the game
to me. The town I come from is controlled
by one man, not a mob. And there is no one
to puff it up with words, for private gain,
swaying it this way, that way. Such a man
first flatters it with wealth of favors; then
he does it harm, but covers up his blunders
by blaming other men, and goes scot-free.
The people is not right judge of arguments;
Then how can it give right guidance to a city?
A poor man, working hard, could not attend
to public matters, even if ignorance
were not his birthright. When a wretch, a nothing,
obtains respect and power from the people
by talk, his betters sicken at the sight.

THESEUS
What bombast from a herald! Waster of words,
if it is argument you want-and you yourself
have set the contest going-listen. Nothing
is worse for a city than an absolute ruler.
In earliest days, before the laws are common,
one man has power and makes the law his own:
Equality is not yet. With written laws,
people of small resources and the rich
both have the same recourse to justice. Now
a man of means, if badly spoken of,
will have no better standing than the weak;
And if the little man is right, he wins
against the great. This is the call of freedom:
What man has good advice to give the city,
and wishes to make it known? He who responds
gains glory; the reluctant hold their peace.
For the city, what can be more fair than that?
Again, when the people is master in the land,
it welcomes youthful townsmen at its subjects;
but when one man is king, he finds this hateful,
and if he thinks that any of the nobles
are wise, he fears for his despotic power
and kills them.

 

 

HISTORY : Ancient Theatre
2nd FORM : 5th hour
TEACHER : Helga Popp
ASSISTANT TEACHER : Charikleia (Lila) Nifli
IT-TEACHER : Gottfried Eggenhofer
DATE : 28/01/1999