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Greek Tragedy

Greek Tragedy. The History Of. Tragedy. Originated in Greece. Term tragedy means “goat-song” possibly referring to the sacrifice of a goat to the god Dionysus or to the prize given to the playwright who won at the play competitions at the Great Dionysian Festival. Dionysus.

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Greek Tragedy

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  1. Greek Tragedy The History Of

  2. Tragedy • Originated in Greece. • Term tragedy means “goat-song” possibly referring to the sacrifice of a goat to the god Dionysus or to the prize given to the playwright who won at the play competitions at the Great Dionysian Festival.

  3. Dionysus • In Greek mythology, he was a nature god of fruitfulness and vegetation, especially know as a god of wine and ecstasy. • Followers of Dionysus had a yearly festival , part of which was a play competition

  4. Festival Of Dionysus • The Festival Of Greater Dionysus was held for 5 days during the spring • Yearly rights to Dionysus eveolved into Greek Drama • Each writer would present 3 tragedies and a Satyr play

  5. Festival Of Dionysus- (continued) • A SATYR PLAY IS A FARCICAL, OFTEN BAWDY PARODY OF THE GODS AND THEIR MYTHS. • 15,000 PEOPLE WOULD SIT THROUGH THE PLAYS IN THE DIONYSIAN THEATER AND WOULD VOTE FOR THEIR FAVORITE PLAYS BY CASTING STONE BALLOTS. • WINNERS WOULD RECEIVE THE LAUREL WREATH

  6. Drawn from familiar myths of gods and mortals found in the works of Homer and elsewhere Tragedies are about people in conflict with the universe tragedies are always about spiritual conflicts, never about every day events Tragic actions arise from a character's inner conflict Fate is inescapable Greek Tragedies

  7. Elements of Tragedy • The Tragic Hero • Fate or The Gods • Conflict • Violence and Irreverence • Resolution

  8. Tragic Hero • The tragic protagonist is a good person, but not perfect • Must have a tragic flaw consisting of a simple mistake or a weakness of character which causes them to suffer • Tragedies are always about spiritual conflicts, never about every day events

  9. Fate & the Gods Fate is inescapable

  10. Conflict • Between the protagonist and a superior force (such as destiny, circumstance, or society).

  11. Violence and Irreverence • These scenes were not depicted on stage. • Instead they were reported and commented upon by the chorus

  12. The Chorus • The first function of the chorus was as narrator (telling stories, providing information). • Members of the chorus were chosen from the general population. The chorus, unlike the actors, were non-professionals who had a talent for singing and dancing and were trained by the poet in preparation for the performance

  13. Resolution • The tragic protagonist is confronted in the end by an inexorable fate that ensures an unhappy outcome.

  14. Dionysus Theater • Open-aired theater • Performances only during the day • Like a semicircular football stadium • Performance area at the bottom; seating extended up the hillside • Composed of 4 areas, Theatron, Orchestra, Skene, Parados

  15. Theatron (seating area) • Where the spectators sat. • Usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra • Spectators probably sat on cushions or boards, but by the fourth century the Theatron of many Greek theaters had marble seats.

  16. Orchestra • Orchestra: circular, level space made of hard earth where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. • In the center of the orchestra there was often an altar. • The orchestra of the theater of Dionysus in Athens was about 60 feet in diameter.

  17. Skene • the building or “tent” directly behind the stage. • raised only two or three steps above the level of the orchestra, and was perhaps 25 feet wide and 10 feet deep. • usually decorated as a palace, temple, or other building, depending on the needs of the play. • It had at least one set of doors, and actors could make entrances and exits through them. • also had access to the roof from behind, so actors playing gods and other characters could appear on the roof, if needed.

  18. Parodos • "passageways" or paths by which the chorus and some actors made their entrances and exits. • The audience also used them to enter and exit the theater before and after the performance.

  19. In traditional Greek drama, little or no scenery was used. Settings today are elaborate. They often consist of layers of settings including a backdrop, removable set, and layers of props Ancient Greek vs Modern Scenery

  20. Costumes • The actors wore long robes with vertical stripes. • Costumes were always stiff, heavy, dull, and dark colored to make apparent of their character's feelings. • Wealthy characters wore very embroidered, authentic and intricately designed costumes giving the audience a sense of their character's wealth as well as personality.

  21. Masks • The masks were typically made of very thin and delicate clay, wood, or even stiffened cloth in some cases. • Then, a thin piece of linen was stretched over the base material of the mask. • Then, the masks were carefully carved and designed to fit the role of the theatrical performances.

  22. Purpose of Masks • Exaggerated the facial features of the actor.  • Helped the audience tell whether the actor was playing a man or a woman, his or her social stature, and his or her expression.  • Because the features were so much larger than those of a real human's face it was easy for the audience on the hillside to see.  • In the mouth of the mask, there was a metal mouthpiece, which helped exaggerate the voice of the actor, making it heard through out the stands.

  23. Famous Greek Tragic Playwrights • Aeschylus- Author of the Oresteia series consisting of Agamemnon, the Libation Bearers and the Eumenides • Euripides-Author of Medea • Sophocles-Author of Women of Trachis, Oedipus at Colonus, Antigone

  24. Sophocles • Sophocles (ca.495-406 B.C.) won the competition at the Great Dionysia more often than any other of the great dramatists, and his plays were held to epitomize the tragic form. • He increased the potential for dramatic conflict by adding a third actor, allowing more complex portrayals of the working of tragic destinies. • Sophoclean drama deals primarily with strong characters who are undone by the combination of a character flaw and unfortunate circumstance. The protagonist's errors of judgment are shown to multiply (perhaps as rumours), affecting the lives of others and ultimately returning to bring his own destruction. • Author of Antigone

  25. Greek Tragedy The History Of

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