3. Lesser Dual
Greek God nature
Joy, ecstas
y
God of &
wine, fertil Brutal, unt
ity, art hinking
rage
4. 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
5. 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…
6.
7.
8. 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)
9. 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)
10. 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
11. 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
12. 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
13. 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.)
14. Aristotle:
Purpose of tragedy
arouse unhealthy emotions (pity and fear)
watching hero’s tragic fate cleanses those emotions
bad emotions cleansed = catharsis
15. 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
16. 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
17. 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
18. Written ≈ 442 B.C.E.
Third (chronologically) in The Theban Plays:
Oedipus the King
Oedipus at Colonus
Antigone
Anti = “against,” gone = “birth” (daughter of incest)
Also translated as “unbending”
Takes place in Thebes, Greece
Chorus represents Theban elders
19. 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
