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 lifes 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": |
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:
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):
From his enormous oeuvre of 130 plays, only seven tragedies have survived: Oedipus at Colonus, Antigone, Oeudipus Rex, Ajax, Women of Trachis, Philoctetes, Electra.
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.
He critisized the morality of his epoque, and the political situation. He wrote comedies such as Lysistrates, the clouds (against Socrates), the birds etc.
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The architectural form of the Classical theatre was the following: 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. Back to the picture
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. Back to the picture
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. Back to the picture
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.
Three of the most well preserved theatres in Greece are the following:
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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 Gods 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. ... |
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EURIPIDES (484-406 BC) HERALD |
HISTORY : Ancient Theatre
2nd FORM : 5th hour
TEACHER : Helga Popp
ASSISTANT TEACHER : Charikleia (Lila) Nifli
IT-TEACHER : Gottfried Eggenhofer
DATE : 28/01/1999