Greek Tragedies and Comedies Show Us That Ancient Greece Did Not Value Theatre as an Art Form
Greek tragedy was a popular and influential form of drama performed in theatres across ancient Greece from the late 6th century BCE. The most famous playwrights of the genre were Aeschylus, Sophocles, and Euripides and many of their works were even so performed centuries afterwards their initial premiere. Greek tragedy led to Greek comedy and, together, these genres formed the foundation upon which all modern theatre is based.
The Origins of Tragedy
The exact origins of tragedy (tragōida) are debated amongst scholars. Some accept linked the rising of the genre, which began in Athens, to the earlier art grade, the lyrical functioning of epic poesy. Others suggest a strong link with the rituals performed in the worship of Dionysos such every bit the sacrifice of goats - a song ritual called trag-ōdia - and the wearing of masks. Indeed, Dionysos became known as the god of theatre and perhaps there is another connection - the drinking rites which resulted in the worshipper losing total control of their emotions and in effect becoming another person, much every bit actors (hupokritai) hope to exercise when performing. The music and dance of Dionysiac ritual was virtually axiomatic in the office of the chorus and the music provided by an aulos player, merely rhythmic elements were also preserved in the use of first, trochaic tetrameter and so iambic trimeter in the delivery of the spoken words.
A Tragedy Play
Performed in an open up-air theatre (theatron) such equally that of Dionysos in Athens and seemingly open to all of the male populace (the presence of women is contested), the plot of a tragedy was almost e'er inspired by episodes from Greek mythology, which we must remember were often a part of Greek faith. Every bit a outcome of this serious field of study matter, which often dealt with moral right and wrongs, no violence was permitted on the phase and the death of a character had to be heard from offstage and non seen. Similarly, at least in the early stages of the genre, the poet could not make comments or political statements through the play, and the more direct treatment of contemporary events had to wait for the arrival of the less ascetic and conventional genre, Greek comedy.
The early tragedies had only i thespian who would perform in costume and article of clothing a mask, allowing him the presumption of impersonating a god. Here nosotros can come across mayhap the link to before religious ritual where proceedings might have been carried out by a priest. Afterwards, the role player would often speak to the leader of the chorus, a group of upwardly to 15 actors who sang and danced but did not speak. This innovation is credited to Thespis in c. 520 BCE. The role player also changed costumes during the performance (using a small tent behind the stage, the skēne, which would later develop into a monumental façade) and so break the play into distinct episodes. Phrynichos is credited with the idea of splitting the chorus into different groups to stand for men, women, elders, etc. (although all actors on the stage were in fact male). Eventually, three actors were permitted on phase - a limitation which immune for equality between poets in competition. Still, a play could have as many non-speaking performers as required, then, no doubt, plays with greater financial backing could put on a more spectacular production with finer costumes and sets. Finally, Agathon is credited with adding musical interludes unconnected with the story itself.
Tragedy in Competition
Likewise functioning in competition, many plays were copied into scripts for publication and posterity.
The most famous competition for the performance of tragedy was equally part of the bound festival of Dionysos Eleuthereus or the City Dionysia in Athens, but there were many others. Those plays which sought to be performed in the competitions of a religious festival (agōn) had to go through an audition process judged past the archon. Simply those deemed worthy of the festival would be given the fiscal backing necessary to procure a costly chorus and rehearsal fourth dimension. The archon would likewise nominate the three chorēgoi, the citizens who would each be expected to fund the chorus for one of the chosen plays (the state paid the poet and atomic number 82 actors). The plays of the three selected poets were judged on the mean solar day past a console and the prize for the winner of such competitions, besides honor and prestige, was often a bronze tripod cauldron. From 449 BCE there were also prizes for the leading actors (prōtagōnistēs).
Sophocles
The Writers of Tragedy
The starting time of the great tragedian poets was Aeschylus (c. 525 - c. 456 BCE). Innovative, he added a second actor for pocket-sized parts and by including more dialogue into his plays, he squeezed more than drama from the age-old stories so familiar to his audience. Every bit plays were submitted for competition in groups of 4 (three tragedies and a satyr-play), Aeschylus often carried on a theme between plays, creating sequels. One such trilogy is Agamemnon, The Libation Bearers (or Cheoephori), and The Furies (or Eumenides) known collectively as the Oresteia. Aeschylus is said to have described his work, consisting of at least seventy plays of which six or seven survive, as 'morsels from the banquet of Homer' (Burn 206).
The second great poet of the genre was Sophocles (c. 496-406 BCE). Tremendously popular, he added a third actor to the proceedings and employed painted scenery, sometimes even changes of scenery within the play. Three actors now permitted much more sophistication in terms of plot. 1 of his virtually famous works is Antigone (c. 442 BCE) in which the lead character pays the ultimate price for burying her brother Polynices confronting the wishes of Male monarch Kreon of Thebes. It is a classic situation of tragedy - the political right of having the traitor Polynices denied burial rites is contrasted confronting the moral right of a sister seeking to lay to rest her blood brother. Other works include Oedipus the King and The Women of Trāchis, just he in fact wrote more than 100 plays, of which seven survive.
The last of the archetype tragedy poets was Euripides (c. 484-407 BCE), known for his clever dialogues, fine choral lyrics and a certain realism in his text and stage presentation. He liked to pose bad-mannered questions and unsettle the audience with his thought-provoking treatment of common themes. This is probably why, although he was popular with the public, he won merely a few festival competitions. Of around xc plays, 19 survive, amongst the nigh famous being Medeia - where Jason, of the Gilded Fleece fame, abandons the title grapheme for the daughter of the King of Corinth with the consequence that Medeia kills her ain children in revenge.
Seating of the Theatre of Epidaurus
The Legacy of Tragedy
Although plays were specifically commissioned for contest during religious and other types of festivals, many were re-performed and copied into scripts for 'mass' publication. Those scripts regarded every bit classics, particularly by the 3 great Tragedians, were even kept by the state as official and unalterable land documents. Besides, the study of the 'classic' plays became an of import part of the school curriculum.
There were, still, new plays continuously existence written and performed, and with the formation of actors' guilds in the tertiary century BCE and the mobility of professional troupes, the genre connected to spread across the Greek world with theatres becoming a common characteristic of the urban landscape from Magna Graecia to Asia Minor.
In the Roman world, tragedy plays were translated and imitated in Latin, and the genre gave rise to a new fine art form from the 1st century BCE, pantomime, which drew inspiration from the presentation and field of study matter of Greek tragedy.
This article has been reviewed for accuracy, reliability and adherence to academic standards prior to publication.
Source: https://www.worldhistory.org/Greek_Tragedy/
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