Monday 1 July 2019

Ancient Greek Theatre - Introduction

Ancient Greek Theatre was all about Opsis [ὄψις - Spectacle or Performance] and Melos [μέλος - Song or Tune]. The theatrical perspective: Greek drama was written to be performed, to be seen. This is in contradiction to what Aristotle said in his Poetics who thought it was more to do with actions, words and thought. Aristotle thought it was not necessary to see or hear the play to experience the tragic. Literature,  for us, is something that has been written and was meant to be read,  but,  though there were undoubtedly books and readers in fifth-century Athens,  the principal medium of literary communication was not written text but public performance. To Aristotle plot or fabula [mythos] was the central feature of a play.

Playwrights like Aeschylus dealt with myth as morality: in his Oresteia tragic trilogy he adapted a familiar myth, and in it he questioned divine justice and human responsibility. The principal character of a play attributed to him or his son, Prometheus challenged the authority of the Olympian gods, reflecting growing concerns about individual choice, will and fate.

Tragedy reached its peak with Sophocles and Euripides. These two playwrights delved deeper into the psyches of mythical heroes, examining themes of hubris (excessive pride), guilt, and the role of the gods in human suffering. The divine remained powerful, but its motivations became more ambiguous, prompting audiences to consider questions of morality [ethos] and ethical action.

Modern commentators have argued that in their studies of oral cultures and literacy of the Ancient Greeks, have argued that Ancient Greek theatre functioned as a training ground for public oratory and civic participation, contributing to the development of the Athenian democracy.

Difference between Tragedy and Comedy
Aristotle, Poetics Chapter 2, section 1448a16

Comedy aims to represent men as worse, and Tragedy as better than they are in actual life.

References

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[This book is a mine of information on the Classical Sources used by scholars on Classical Greek Drama]

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Utah State University Course - Mark Damen
Archived
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Theatrocracy

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Chapter VI: Cognitive Theatre and Aeschylus: Translating beyond the Lexicon 

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Architecture as Embodied Space: A Phenomenology of Theatre Buildings in Other Architecture. | Praeploy Phaewpisakul - Academia.edu

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Audio

The Modern Scholar: Greek Drama: Tragedy and Comedy
By: Peter Meineck
https://amzn.to/2V5Xg8n
ISBN: 9781436173018

Audio/Visual

The Great Courses Series

Greek Tragedy by Professor Elizabeth Vandiver
https://amzn.to/2vL6QTD
Synopsis: Greek Tragedy by Elizabeth Vandiver [PDF]

BBC Radio 4 - In Our Time, Ancient Greece

Some introductory talks and lectures on Greek Theatre and Life by Professor Edith Hall on YouTube
https://www.youtube.com/results?search_query=%22edith+hall%22
https://bit.ly/2Dpp5BW

David J. Schenker (2007). Masterpieces of Ancient Greek Literature. Teaching Company, LLC. ISBN 978-1-59803-279-6.

Radical Theatre: Greek Tragedy in the Modern World - Rush Rehm - Google Books

ROSELLI, D. K. (2011). WOMEN and the THEATER AUDIENCE. In Theater of the People: Spectators and Society in Ancient Athens (pp. 158–194). University of Texas Press. http://www.jstor.org/stable/10.7560/723948.10

The classical origins of western culture: Dunkle, Roger - Internet Archive

Eureka! - Google Books by Peter V. Jones

Lecture 13 A Brief Introduction to Greek Tragedy

Chapters 1, 2 and 3

The Oxford Illustrated History of Theatre - Internet Archive

The Perseus Project: https://www.perseus.tufts.edu/hopper/

The podcast series ‘Ancient Greece Declassified’: https://www.greecepodcast.com/

The YouTube channel Kings and Generals: 

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