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THE BIRTH OF THEATRE. Pre-history to The Greeks. 120,000 years ago Homo Sapiens emerge Earliest Theatre probably ‘Picture-Recitation’ Writing invented c. 3000 B.C. We probably performed long before we could write Ritual becomes important. Newgrange c.3100 B.C. Pyramid of Djoser c.2667 B.C.
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THE BIRTH OF THEATRE • Pre-history to The Greeks
120,000 years ago Homo Sapiens emerge • Earliest Theatre probably ‘Picture-Recitation’ • Writing invented c. 3000 B.C. • We probably performed long before we could write • Ritual becomes important
Ritual • Rituals are performed to ‘accomplish something’. They do not exist for their own sake. • Ritual exists apart from normal life. • Rituals can mark the crossing of one state to another - marriage, funerals etc.
Speech Act Theory • “To say something is to do something” • Speech is not only the use of words, but the use of gesture, tone of voice, style of language, speed of delivery. • If the words spoken are meant to ‘do something’ (making a promise/threat/assurance) they are ILLOCUTIONARY ACTS
The earliest record of a theatrical performance was in Egypt over 4000 years ago.
Egyptian Roots • c.2500 BCE • Cosmic balance only kept in check by co-operation of the gods • Ritual Enactment • Abydos Passion Play re-enacted the story of the death and resurrection of Osiris
The Abydos Passion Play • Evidence comes from engraving c.1831 BC • Tells the myth of Osiris and Isis • Osiris is killed and dismembered by Seth then revived/reconstructed by Isis • Horus is born • Legend is central to Egyptian belief in the afterlife • Seth = Darkness/Chaos Osiris = Life/Fertility Horus = Kingship • A spectacle - involved large groups of participants • Many actors die during each production
Ikhernofret’s Description of the Osiris “Passion Play” at Abydos • “I organized the going forth of Wepwawet when he proceeded to avenge his father; I drove away the rebels from the neshmet-barque; I overthrew the enemies of Osiris; I celebrated the great going forth. I followed the god at his going, and caused the ship to sail, Thoth steering the sailing. I equipped the barque with a chapel and affixed (Osiris's) beautiful adornments when he proceeded to the district of Peqer. I cleared the ways of the god to his tomb before Peqer. I avenged Wennefer that day of the great fight; I overthrew all his enemies upon the sandbanks of Nedyt; I caused him to proceed into the great barque. It raised up his beauties, I making glad the people/tomb owners of the Eastern Desert, creating joy amongst the people/tomb owners of the Western Desert; they saw the beauties of the neshmet-barque when it touched land at Abydos, when it brought Osiris-Khentyamentiu to his palace; I followed the god to his house, I carried out his purification and extended his seat and solved the problems of his residence [...and amongst] his entourage."
Ancient Hebrew writings in the Old Testament mention dance and ritual and read much like drama… The Book of Job is almost like a five-act drama with a prologue and epilogue. The Song of Solomon contains poetic dialogue spoken by a bride and groom. …but there is no evidence that these writings were performed.
These types of performances can be called ‘Monologic’ as they involve no participation with the audience. There is no conflict. No ideas are debated.Dialogic Theatre begins with the Greeks...
Ancient Greeks held ceremonies to honor the gods In one ceremony, to honor the god Dionysus, a group of chanters called a chorus danced around an altar upon which a goat was sacrificed. The members of the chorus were called the “goat singers” and their ritualistic chant was called the tragos or “goat song.” These ceremonies evolved into dramatic contests with written plays.
It’s all Greek to me... • By end of Fifth Century BCE Athens is a literate culture. • This leads to writers who begin to carefully compose dialogue • Greeks are polytheistic • Gods personify human/natural characteristics • Gods are neither good nor evil - they all need to be worshipped and appeased • Most powerful live on Mount Olympus
The Festival of Dionysus • Each year three playwrights were chosen to present • 3 tragedies and • 1 satyr play (comedy) • in the festival competition The Festival was held in Athens, Greece each Spring
To help the audience see and hear… Only 2 or 3 actors were on stage at a time Stages were designed to provide the best acoustics Actors wore masks
Masks helped audiences see a character’s… • Gender, Age, Emotion, Personality, Social status Some historians argue that the masks were also designed to act as megaphones to help carry voices of the actors
The Greek Stage Proskenion—raised platform in front of skene Orchestra—main circular acting area Thymele— platform on which an altar was placed, usually at the centre of the orchestra Paradoi—side entrances or ramps onto the orchestra • Skene—long, low building that served both as • dressing room and conventional backdrop for action Theatron—semicircular seating area surrounding three sides of stage
Epidaurus: The best-preserved Greek theatre The acoustics are so perfect that even a person sitting in the worst seat can hear a coin drop in the center of the performance area. 2500-3000 male citizens involved in the festival Festival was a Rite of Passage from boyhood to manhood
The Dionysia • Plays taken from stories of the past that reflect contemporary tensions • Individual actors more celebrated than dramatists • Polos used the ashes of his own dead son in a performance of Electra
AESCHYLUS c.560 B.C. • Introduces 2nd actor • Only 7 out of a possible 160 plays survive • Nothing remains from his contemporaries • Author of The Orestia • Action in plays is minimal • Important events are TOLD to us, not SHOWN to us • Was killed by a tortoise which fell out of the sky when dropped by an eagle
Structure of Greek Tragedy • The Prologue • Parados - entrance of Chorus • 5 scenes separated by choral odes • Exodus - exit of Chorus
Sophocles c. 495 B.C. • Introduces 3rd actor • 123 plays, only 7 survive • For 50 years, the most celebrated dramatist in Athens • Chorus role is reduced • More is ‘shown’ to us
The Theban TrilogyWe start the action at the climax of the story
Aristotle 384-322 B.C. • Author of ‘The Poetics’ • Asks - ‘why do we watch tragedy’? • Believes that the central drive of drama is the concept of ‘Mimesis’ • For years, Western drama follows the rules set out in The Poetics
What is Tragedy? • Tragedy is an imitation of an action that is complete and has magnitude
The Statue of MitysTragedy is an imitation not only of a complete action, but of events inspiring fear or pity. Such an effect is best produced when the events come on us by surprise; and the effect is heightened when, at the same time, they follows as cause and effect. The tragic wonder will then be greater than if they happened of themselves or by accident; for even coincidences are most striking when they have an air of design. We may instance the statue of Mitys at Argos, which fell upon his murderer while he was a spectator at a festival, and killed him. Such events seem not to be due to mere chance. Plots, therefore, constructed on these principles are necessarily the best.
Aristotle’s Model of Tragedy • 1 - Plot (unity of time and place) • 2 - Character • 3 - Diction • 4 - Thought • 5 - Spectacle • 6 - Song
The Components of Tragedy • Tragic Hero must have a flaw (HAMARTIA) • There must be a reversal in fortune - from high to low • Character must have moment of recognition (a change from ignorance to knowledge)
KATHARSIS is the emotional cleansing of the audience and/or characters in a play. In relation to drama it is an extreme change in emotion resulting from strong feelings of sorrow, fear, pity, or laughter
OEDIPUS • First staged in 427 BCE • Athens recovering from the plague of 428 BCE • A Play about political leadership in a crisis? • Reinforces the idea of the city state as a safe place • Note the number of threats that come from the ‘outside’ in the Theban Trilogy • Dramatic Irony - Do we derive pleasure by already knowing the outcome? • Where does this place us as spectators?
