Theatre of ancient Greece

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For other uses of "Greek Theatre", see Greek theatre (disambiguation).
The Dionysus Theatre in Athens built into the Acropolis, ~3rd century BC.

The Greek theatre (AE theater) or Greek drama is a theatrical tradition that flourished in ancient Greece between c. 550 and c. 220 BC. Athens, the political and military power in Greece during this era, was the centre of ancient Greek theatre. Tragedy (late 6th century BC), comedy (~486 BC), and satyr plays were some of the theatrical forms to emerge in the world. Greek theatre and plays have had a lasting impact on Western drama and culture.

The origin of western theatre is to be found in ancient Greece. It developed from a state festival in Athens, honoring the god Dionysus. The Athenian city-state exported the festival to its numerous allies in order to promote a common identity.

Etymology

The word τραγοιδία, from which the English word tragedy is derived, is a portmanteau of two Greek words: τράγος, the goat, which is akin to "gnaw", and ῳδή meaning song, from αείδειν, to sing.[1] This explains the very rare archaic translation as "goat-men sacrifice song". At the least, it indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy.[2] Also, until the Hellenistic period, all tragedies were unique pieces written in honor of Dionysus, so that today we only have the pieces that were still remembered well enough to have been repeated when repetition of old tragedies became fashion. It was considered a decline of the original, one-time-played tragedy.

Panoramic view of the Greek theatre at Epidaurus.

Origins

Greek tragedy as we know it was created in Athens some years before 534 BCE, when Thespis was the earliest recorded author. Being a winner of the first theatrical contest held at Athens, he was the exarchon, or leader, of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis' time the dithyramb had evolved far away from its cult roots. Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Thespis probably aided in the final transition from dithyramb to tragedy by adding characters who speak (rather than sing) with their own voice (rather than a single narrative chorus). Because of these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as sixteenth in the chronological order of Greek tragedians. For example, the statesman Solon is credited with creating poems in which characters speak with their own voice, and spoken recitations, known as rhapsodes, of Homer's epics were popular in festivals prior to 534 B.C.[3] Thus, Thespis' true contribution to drama is unclear at best, but he is forever immortalized in a common term for performer, thespian.

The drama performances were important to the Athenians - this is made clear by the creation of a tragedy competition and festival in City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica (recently created by Cleisthenes). The festival was created roughly around 508 B.C. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis: Choerilus, Pratinas, and Phrynichus. Each is credited with different innovations in the field.

More is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject - his Fall of Miletus, produced in 493-2, chronicled the fate of the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear their deep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled “The Fall of Miletus” and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas for bringing to mind a calamity that affected them so personally, and forbade the performance of that play forever."[4] He is also thought to be the first to use female characters (though not female performers).[5] ghts at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC, each playwright also submitted a comedy.

Aristotle claimed that Aeschylus added the second actor, and that Sophocles added the third actor. Apparently the Greek playwrights never put more than three actors on stage, except in very small roles (such as Pylades in Electra). No women appeared on stage; female roles were played by men. Violence was also never shown on stage. When somebody was about to die, they would take that person to the back to "kill" them and bring them back "dead." The other people near the stage were the chorus which consisted of about 4-8 people who would stand in the back wearing black.

Although there were many playwrights in this era, only the work of four playwrights has survived in the form of complete plays. All are from Athens. These playwrights are the tragedians Aeschylus, Sophocles, and Euripides, and the comic writer Aristophanes. Their plays, along with some secondary sources such as Aristotle, are the basis of what is known about Greek theatre. Because of this, there is much that remains unknown about theatre.

Hellenistic period

The power of Athens declined following its defeat in the Peloponnesian War against the Spartans. From that time on, the theatre started performing old plays again. Although its theatrical traditions seem to have lost their vitality, Greek theatre continued into the Hellenistic period (the period following Alexander the Great's conquests in the fourth century BC). However, the primary Hellenistic theatrical form was not tragedy but 'New Comedy', comic farces about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of New Comedy's most important contributions was its influence on Roman comedy, an influence that can be seen in the surviving works of Plautus and Terence.

Characteristics of the building

The plays had a chorus of up to fifty[6] people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple half-circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "watching place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The choragos was the head chorus member who could enter the story as a character able to interact with the characters of a play.

A blueprint of an Ancient Theatre. Terms are in Greek language and Latin letters.

The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. Mathematics played a large role in the construction of these theatres, as their designers had to able to create acoustics in them such that the actors' voices could be heard throughout the theatre, including the very top row of seats. The Greeks' understanding of acoustics compares very favourably with the current state of the art, as even with the invention of microphones, there are very few modern large theatres that have truly good acoustics. The first seats in Greek theatres (other than just sitting on the ground) were wooden, but around 499 BC the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. They were called the "prohedria" and reserved for priests and a few most respected citizens.

In 465 BC, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skené, or scene. The death of a character was always heard, “ob skene”, or behind the skene, for it was considered inappropriate to show a killing in view of the audience. The English word 'obscene' is a derivative of 'ob skene.' In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skenes in the theatres. A paraskenia was a long wall with projecting sides, which may have had doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of the scene") was columned, and was similar to the modern day proscenium. Today's proscenium is what separates the audience from the stage. It is the frame around the stage that makes it look like the action is taking place in a picture frame.

Greek theatres also had entrances for the actors and chorus members called parodoi. The parodoi (plural of parodos) were tall arches that opened onto the orchestra, through which the performers entered. In between the parodoi and the orchestra lay the eisodoi, through which actors entered and exited. By the end of the 5th century BC, around the time of the Peloponnesian War, the skene, the back wall, was two stories high. The upper story was called the episkenion. Some theatres also had a raised speaking place on the orchestra called the logeion.

Scenic Elements

There were several scenic elements commonly used in Greek theatre:

  • machina, a crane that gave the impression of a flying actor (thus, deus ex machina).
  • ekkyklema, a wheeled wagon used to bring dead characters into view for the audience
  • trap doors, or similar openings in the ground to lift people onto the stage
  • Pinakes, pictures hung into the scene to show a scene's scenery
  • Thyromata, more complex pictures built into the second-level scene (3rd level from ground)
  • Phallic props were used for satyr plays, symbolizing fertility in honor of Dionysus.

Writing

Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedicAge, not known whether dramatists such as Sophocles and Euripides would have thought about their plays in the same terms.

Comedy and Tragedy masks

Tragic Comic Masks Hadrians Villa mosaic.

The comedy and tragedy masks have their origin in the theatre of ancient Greece. The masks were used to show the emotions of the characters in a play, and also to allow actors to switch between roles and play characters of a different gender. The earliest plays were called Satyrs; they were parodies of myths. Their style was much like what we know as Burlesque.

The actors in these plays that had tragic roles wore a boot called a cothurnus that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock.

In order to play female roles, actors wore a “prosterneda” (a wooden structure in front of the chest, to imitate female breasts) and “progastreda” in front of the belly.

Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurnus. Thalia is the muse of comedy and is similarly associated with the mask of comedy and comic’s socks. Some people refer to the masks as “Sock and Buskin.”[citation needed]

Influential playwrights (listed chronologically with important/surviving works)

Tragedies

Comedies

Development of the ancient Greek theatre in India

Much of what we know about Ancient Greek theatre is speculation, because very little literature from that time actually survived. In contrast, the documents in Sanskrit from the first century B.C.E in India are numerous and well preserved. By looking at the relationship between ancient Indian drama and ancient Greek drama, it is possible to gain a greater insight into how Greek drama might actually have been performed.

Between the years of 180 and 30 B.C.E., a Greek kingdom (the Bactrian Kingdom established by Alexander the Great) flourished in Northern India, where it was by that time changing into a Indo-Greek Kingdom. This kingdom established a Greek society, including cities based on the Greek polis, on the Indian subcontinent. No polis would be complete without a venue for drama, and so it was very likely that Greek drama was performed in Northern India during these years (this hypothesis is also supported by the discovery of a shard of a pot found in the Bactrian kingdom region depicting a scene from Sophocles' Antigone).

A series of invasions in Northern India in the years following 30 B.C.E. destroyed the Indo-Greek Kingdom of Bactria and dispersed many Greeks throughout the rest of India, where the Greek population grew thanks to the increasing trade and the establishment of Greek and Roman trading colonies along the Silk Roads. There is no direct evidence that Greek theatre was performed in India, but as Greek theatre troupes travelled as far as Armenia and Spain, it is probable that some amount of Greek theatre made its way to India.

Bactrian Greeks adopted many aspects of the Indian culture, many converting to Buddhism and Hinduism. The cultural exchange between the Greeks and the Indians may also have included theatrical practices. Some aspects of Sanskrit Drama thought to have come from the Greeks are the 5-act form of a drama, and the use of the curtain as a dramatic device. But maybe there was much independent development in Sanskrit drama, because Indian plays had changes of time and setting between acts, while Greek plays did not. However, the discovery of a play from an Alexandrian Jew, in which both time and setting changed between acts, refutes this argument. The evidence that the use of the curtain was a consequence of exchange with Greek theater is that the Sanskrit term for curtain, Yavanika, means "something Greek," though the translation of "something" is debated. The curtain was used as a theatrical device in a fashion very similar to how they were used in Greek mime plays, that is it did not fall from above, but was a construction that could be hoisted from below the stage.

The relationship between Sanskrit drama and Greek mime in all likelihood involved a giving and receiving on both sides. There are parallels between the Indian sutradhara and sutradhari and the Greek archimimus and archimima. Evidence for the mutual influence as opposed to a receiving role of Sanskrit theater is that women, who were excluded all other forms of Greek drama but were performing in India well before any interaction with the Greeks, were allowed to perform in Greek mime.

Kutiyattam of Kerala is a form of Indian theatre that has survived intact from ancient times. Kutiyattam retains many performance aspects from ancient Sanskrit drama and potentially from Greek drama as well. Kutyattam and Greek drama very likely had much interaction given how closely they resemble each other in certain ways: both types of performance take place in temples; both do a mixture of dance, drama, and music (Indian nritha, nataka, and gana, and Greek mousikê); both use the same types of instruments (wind, cymbals, drums); and neither uses realistic scenery, but rather uses representations.

Insight into Greek actors' performances can perhaps be found through study of Kutiyattam. It is well known that correct and clear pronunciation was highly valued in Greek drama. The same is true of Kutiyattam. In Kutiyattam, diction must be slow so that the accompanying hand gestures, mudras, could be understood. The Greeks, too, had these hand gestures: cheironomia. Every word was associated with different hand gesture in both forms of drama, and as each word was required to be accompanied by its gesture, the performance of a Greek drama was certainly not quick. Performances may not have been as lengthy as Kutiyattam, which took days to weeks to complete, but it makes sense that it took - and in the dionysia festival is known to have taken - a complete day to do five fifteen-hundred line plays.[7]

Notes

  1. ^ Merriam-Webster definition of tragedy
  2. ^ William Ridgeway, Origin of Tragedy with Special Reference to the Greek Tragedians, p.83
  3. ^ Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 1999. USA. p.16-17
  4. ^ Herodotus, Histories, 6/21. [1]
  5. ^ Brockett, Oscar G. "History of the Theatre". Allyn and Bacon, 1999. USA. p.17
  6. ^ Paper on the Athens Theatre
  7. ^ Free, Katherine B., Greek Drama and the Kutiyattam, Theatre Journal, Vol. 33, No. 1. (Mar., 1981), pp. 80-89.

References

  • Buckham, Philip Wentworth, Theatre of the Greeks, London 1827.
  • Davidson, J.A., Literature and Literacy in Ancient Greece, Part 1, Phoenix, 16, 1962, pp. 141-56.
  • ibid., Peisistratus and Homer, TAPA, 86, 1955, pp. 1-21.
  • Easterling, Pat and Hall, Edith (eds.), Greek and Roman Actors: Aspects of an Ancient Profession, 2002. [2]
  • Else, Gerald P.
    • Aristotle's Poetics: The Argument, Cambridge, MA 1967.
    • The Origins and Early Forms of Greek Tragedy, Cambridge, MA 1965.
    • The Origins of ΤΡΑΓΩΙΔΙΑ, Hermes 85, 1957, pp. 17-46.
  • Haigh, A.E., The Attic Theatre, 1907.
  • Lesky, A. Greek Tragedy, trans. H.A., Frankfurt, London and New York 1965.
  • Pickard-Cambridge, Sir Arthur Wallace
    • Dithyramb, Tragedy, and Comedy , Oxford 1927.
    • The Theatre of Dionysus in Athens, Oxford 1946.
    • The Dramatic Festivals of Athens, Oxford 1953.
  • Ridgeway, William, Origin of Tragedy with Special Reference to the Greek Tragedians, 1910.
  • Riu, Xavier, Dionysism and Comedy, 1999. [3]
  • Schlegel, August Wilhelm, Literature, Geneva 1809. [4]
  • Sourvinou-Inwood, Christiane, Tragedy and Athenian Religion, Oxford:University Press 2003.
  • Wiles, David, The Masked Menander: Sign and Meaning in Greek and Roman Performance, 1991.
  • Wise, Jennifer, Dionysus Writes: The Invention of Theatre in Ancient Greece, Ithaca 1998. review
  • Zimmerman, B., Greek Tragedy: An Introduction, trans. T. Marier, Baltimore 1991.

See also


External links

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