Saturday, 31 October 2015

Proagon

The proagon was the occasion prior to the opening of the Great Dionysia dramatic festival in Athens at which the playwright/director of a tragedy could announce and inform his potential audience the topic of his forthcoming play and what changes he had made in his own new version of an old myth. It was usually held, in the case of the Great Dionysia, on the 8th of the Attic month of  Elaphebolion, the same day as the sacrifice to Asklepios. It took place on a mounted platform in the great hall next to the Theatre of Dionysos, in a building known as the Odeion. This was a very large building which could hold a huge crowd of people. [On occasions this building was also used as a law court. Indeed it has been suggested that the nature of the forthcoming dramatic festivals, whether the Lenaia or the Great Dionysia were, in a very considerable sense, trials in which the audience or public would act as jurors deciding the outcome of the cases, and that the proagon was the ordeal which they had to undergo.] The formal institution of the proagon gave the choregoi, that is the financial sponsors of the plays, the opportunity to put themselves publicly on display, along with the poet-playwrights, the actors, and the choral dancers. All were unmasked before their public so that they could be seen exactly who they were.


References

Simon Hornblower; Antony Spawforth; Esther Eidinow (29 March 2012). The Oxford Classical Dictionary. proagon: OUP Oxford. pp. 1212–. ISBN 978-0-19-954556-8

 Peter Wilson (2003). The Athenian Institution of the Khoregia: The Chorus, the City and the Stage. Before the Agones: Proagon and Procession Cambridge University Press. pp. 95–. ISBN 978-0-521-54213-5.

John J. Winkler (1992). Nothing to Do with Dionysos?: Athenian Drama in Its Social Context. Princeton University Press. pp. 99–. ISBN 0-691-01525-2.

Olivier Hekster; Richard Fowler (2005). Imaginary Kings: Royal Images in the Ancient Near East, Greece and Rome. Franz Steiner Verlag. pp. 73–. ISBN 978-3-515-08765-0.

Paul Kuritz (1988). The Making of Theatre History. pp. 20–. ISBN 978-0-13-547861-5.

Robin Mitchell-Boyask (2007). Plague and the Athenian Imagination: Drama, History, and the Cult of Asclepius. Cambridge University Press. pp. 111–. ISBN 978-1-139-46823-7.

Mogens Herman Hansen (1989). The Athenian Ecclesia II: A Collection of Articles, 1983-1989. Odeion: Museum Tusculanum Press. pp. 234–. ISBN 978-87-7289-058-6.

Zachary P. Biles (2011). Aristophanes and the Poetics of Competition. Parabasis and Proagon ...: Cambridge University Press. pp. 40–. ISBN 978-1-139-49472-4.

Kate Gilhuly; Nancy Worman (22 September 2014). Space, Place, and Landscape in Ancient Greek Literature and Culture. Cambridge University Press. pp. 265–. ISBN 978-1-107-04212-4.

Karen Bassi (1998). Acting Like Men: Gender, Drama, and Nostalgia in Ancient Greece. University of Michigan Press. pp. 141–. ISBN 0-472-10625-2.

David Kawalko Roselli (2011). Theater of the People: Spectators and Society in Ancient Athens. University of Texas Press. pp. 123–. ISBN 978-0-292-74477-6.

The Odeion in the Athenian Agora
Homer A. Thompson
Hesperia: The Journal of the American School of Classical Studies at Athens
Vol. 19, No. 2, American Excavations in the Athenian Agora: Thirty-Ninth Report (Apr. - Jun., 1950), pp. 31-141
Published by: American School of Classical Studies at Athens
Stable URL: http://www.jstor.org/stable/146791

Programm und Festzug der Grossen Dionysien
E. Bethe
Hermes
61. Bd., H. 4 (Oct., 1926), pp. 459-464
Published by: Franz Steiner Verlag
Stable URL: http://www.jstor.org/stable/4474021


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Thursday, 29 October 2015

Pompe

The Ancient Greek conceptual meaning of the word pompe,  was a movement of a procession of persons towards a defined destination, involving the conveying or escorting of a ritual symbol or an effigy of a god (or of an object or a person) between specific points of departure and arrival, such was the cult or rite of the Athenian religion. Pompe means to escort (the god).

At new year not long after his election to his post the Eponymous Archon, a job loosely equivalent to city mayor, appointed two Paredroi who set about to assist him in the organisation of the dramatic festivals which he was in charge of, including their pompes. Indeed most of the dramatic festivals of Athens began on their first day with a pompē [πομπή] or parade through the streets of the city. The festival of the City or Greater Dionysia began with a procession escorting the statue or an effigy of the god Dionysos Eleuthrios from the temple where his cult statue was housed along the road towards Eleutherae [halfway to Thebes] to a small shrine just outside the city walls and then back again to the great theatre of Dionysos, just beneath the Acropolis, where a various rites were performed concluding with the sacrifice of a bull.

References

H. S. Versnel (1970). Triumphus: An Inquiry Into the Origin, Development and Meaning of the Roman Triumph. The Rite during Anthesteria: Brill Archive. pp. 245–.

H. S. Versnel (1970). Triumphus: An Inquiry Into the Origin, Development and Meaning of the Roman Triumph. Dionysus, the King and the New Year Festival in Hellas: Brill Archive. pp. 246–

Eric Csapo; William J. Slater (1995). The Context of Ancient Drama. University of Michigan Press. pp. 105–. ISBN 0-472-08275-2.

 Eric Csapo (2013). The Dionysian Parade and the Poetics of Plenitude: UCL Housman Lecture. Department of Greek and Latin, University College London.
Professor Eric Csapo (University of Sydney) - 'The Dionysian Parade and the Poetics of Plenitude' - YouTube
The Dionysian Parade and the Poetics of Plenitude
[PDF] academia.edu

 Emmanuela Bakola; Lucia Prauscello; Mario Tel- (18 April 2013). Greek Comedy and the Discourse of Genres. Chapter 2- Eric Csapo - Comedy and the Pompe - Dionysian genre crossing: Cambridge University Press. pp. 40–. ISBN 978-1-107-03331-3.

Simon Goldhill; Robin Osborne (13 June 1999). Performance Culture and Athenian Democracy. Processions Cambridge University Press. pp. 293–. ISBN 978-0-521-64247-7.

Ruth Scodel (2010). An Introduction to Greek Tragedy. Cambridge University Press. pp. 40–. ISBN 978-1-139-49349-9.

Mary B. Hollinshead (19 January 2015). Shaping Ceremony: Monumental Steps and Greek Architecture. Chapter III: Social Effects and Political Consequences: University of Wisconsin Pres. pp. 29–. ISBN 978-0-299-30110-1.

George Harrison; Vayos Liapis (2013). Performance in Greek and Roman Theatre. BRILL. pp. 165–. ISBN 978-90-04-24545-7.

http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.580817

P. E. Easterling (2 October 1997). The Cambridge Companion to Greek Tragedy. Cambridge University Press. pp. 55–. ISBN 978-0-521-42351-9.

Sarah Iles Johnston (2004). Religions of the Ancient World: A Guide. Harvard University Press. pp. 40–. ISBN 978-0-674-01517-3.


Walter Burkert (2013). Greek Religion: Archaic and Classical. 7.1 Pompe: Wiley. pp. 101–. ISBN 978-1-118-72497-2.



Simon Goldhill; Robin Osborne (13 June 1999). Performance Culture and Athenian Democracy. 12: M. Jameson -The spectacular and the obscure in Athenian religion': Cambridge University Press. pp. 321–. ISBN 978-0-521-64247-7.

P. E. Easterling (1997). The Cambridge Companion to Greek Tragedy. Simon Goldhill: The Audience of Greek Tragedy: Cambridge University Press. pp. 54–. ISBN 978-0-521-42351-9.

Christiane Sourvinou-Inwood (2003). Tragedy and Athenian Religion. Lexington Books. pp. 1–. ISBN 978-0-7391-0400-2.

Emmanuela Bakola; Lucia Prauscello; Mario Telo (2013). Greek Comedy and the Discourse of Genres. Eric Csapo: Comedy and the Pompe: Cambridge University Press. pp. 40–. ISBN 978-1-107-03331-3.

No Laughing Matter: Studies in Athenian Comedy. Eric Csapo: Parade Abuse - From the Wagons: Bloomsbury Publishing. 2012. pp. 19–. ISBN 978-1-4725-0303-9.

Eleutherae - Wikipedia

 Temples of Dionysos in Athens






Jana Kubatzki
Dissertation  doctor philosophiae (Dr. phil.)
30. Juni 2012, Humboldt-Universität zu Berlin


Instrumental Music in Representations of Greek Cult
Gullög C. Nordquist
From
Robin Hägg (1992). The Iconography of Greek Cult in the Archaic and Classical Periods: Proceedings of the First International Seminar on Ancient Greek Cult, Delphi, 16-18 November 1990. Centre d'Étude de la Religion Grecque Antique.
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Wednesday, 21 October 2015

Didaskalia

Didaskalia [διδασκαλία] was the general term used by the Greeks for the putting on of a dramatic production at any of the festivals whether it be dithyramb, tragedy, comedy or satyr play. All involved the teaching (didaskein [διδάσκειν] ) of choruses by poets or playwrights in their performance. Didaskalia meant the training of the chorus and actors, of their lines, and dance and song formations, It came to mean the organisation of the production itself, whether that was single play or a group of plays.  The didaskalia  of a poet could mean his entire lifetime's output

References
Simon Hornblower; Antony Spawforth; Esther Eidinow (2012). The Oxford Classical Dictionary. didaskalia: OUP Oxford. pp. 449–. ISBN 978-0-19-954556-8.

 John E. Thorburn (2005), The Facts on File Companion to Classical Drama, Didaskalia: Infobase Publishing, pp. 172–, ISBN 978-0-8160-7498-3

George William Mallory Harrison; Vaios Liapēs; Vayos Liapis (2013). Performance in Greek and Roman Theatre. BRILL. ISBN 90-04-24457-3.

Didaskaliai - Brill Reference


Didaskaliai


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Monday, 19 October 2015

The Athenian or Attic Calendar

Extract from Aristophanes Clouds

Aristophanes The Clouds, Hayes Barton Press ISBN 978-1-59377-246-8

Aristophanes, Clouds, line 607 - 626 - in Greek

Complete Works of Aristophanes, The Clouds lines 615-30: Lulu.com, pp. 180–, ISBN 978-0-557-78159-1

LEADER OF SECOND SEMI-CHORUS
As we were preparing to come here, we were hailed by the Moon and were charged to wish joy and happiness both to the Athenians and to their allies; further, she said that she was enraged and that you treated her very shamefully, her, who does not pay you in words alone, but who renders you all real benefits. Firstly, thanks to her, you save at least a drachma each month for lights, for each, as he is leaving home at night, says, "Slave, buy no torches, for the moonlight is beautiful,"-not to name a thousand other benefits. Nevertheless you do not reckon the days correctly and your calendar is naught but confusion. Consequently the gods load her with threats each time they get home and are disappointed of their meal, because the festival has not been kept in the regular order of time. When you should be sacrificing, you are putting to the torture or administering justice. And often, we others, the gods, are fasting in token of mourning for the death of Memnon or Sarpedon, while you are devoting yourselves to joyous libations. It is for this, that last year, when the lot would have invested Hyperbolus with the duty of Amphictyon, we took his crown from him, to teach him that time must be divided according to the phases of the moon.

Aristophanes (2008). Clouds. Line 607- Richer Resources Publications. pp. 44–. ISBN 978-0-9797571-3-6.


CHORUS LEADER
When we were getting ready to move over here,
Moon met us and told us, first of all, to greet,
on her behalf, the Athenians and their allies.
Then she said she was upset—the way you treat her [610]
is disgraceful, though she brings you all benefits—
not just in words but in her deeds. To start with,
she saves you at least one drachma every month
for torchlight— in the evening, when you go outside,
you all can say, “No need to buy a torch, my boy,
Moon’s light will do just fine.” She claims she helps you all
in other ways, as well, but you don’t calculate
your calendar the way you should—no, instead
you make it all confused, and that’s why, she says,
the gods are always making threats against her,
when they are cheated of a meal and go back home
because their celebration has not taken place
according to a proper count of all the days.
And then, when you should be making sacrifice, [620]
you’re torturing someone or have a man on trial.
And many times, when we gods undertake a fast,
because we’re mourning Memnon or Sarpedon,
you’re pouring out libations, having a good laugh.
That’s the reason, after his choice by lot this year
to sit on the religious council, Hyperbolos
had his wreath of office snatched off by the gods.
That should make him better understand the need
to count the days of life according to the moon.

Indeed the Athenian festive calendar is a confusing matter and a highly controversial one.  At first sight it seems to have little mathematical, logical or even astronomical consistency. It did not follow any real logical pattern.This was perhaps because the festivities of Athens and the calendar which controlled them were a very large part of the business of the government of Athens. They were controlled by the Athenian state and its leaders (archontes), largely paid for by the state, and the Athenian people were hugely organised by the state and their tribes to participate in them. Therefore those in power could choose to manipulate the calendar whenever it suited them and for whatever reason they liked. perhaps the only limit on their power in this matter was that every citizen could look up at the evening sky on cloudless days and look out for the new moon and its first crescent light to see just how far those in power were manipulating the calendar.

The days when the festivities took place were determined by set days in the Athenian or Attic Festive Calendar. The New Year began in summer, technically defined as beginning in the evening following the first sighting of the new moon [noumenia], namely the first sighting of the moon's crescent after sunset  following the summer solstice [usually 21st June in the modern calendar, less often 20th or 22nd June]. The Attic year consisted of 12 lunar months [from new moon to new moon], with an occasional intercalary 13th month inserted to bring the calendar back into line with the solar year. Months were always either 29 or 30 days [hollow and full] which were meant to alternate every other month to keep up with the astronomical synodic month or lunar phase cycle [new moon to new moon]. The length of the mean synodic month (new moon to new moon) is 29.530588853 days (= 29d 12h 44m 03s). However, the length of any one synodic month can vary from 29.26 to 29.80 days due to perturbing effects of the Sun on the Moon's eccentric orbit  But those in power in Athenians often manipulated this cycle for their own purposes. The new moon [moon and sun conjuction] was thus was always meant to occur on the last or penultimate day of a month, but as a result of calendar manipulation this did not always happens.

The months of the Athenian calendar were given names after the principal festival held during that month. In order from the Athenian new year they were called Hekatombaion, Metageitnion, Boedromion, Pyanopsion, Maimakterion, Posideon, Gamelion, Anthesterion, Elaphebolion, Mounichion, Thargelion, and Skirophorion. During "leap years" with their additional intercalary month a second Poseidon month was added.

The Ancient Greeks had no conception of astrology. All the night sky did was to indicate to them the seasons and their changes.




https://en.wikipedia.org/wiki/Hellenic_calendars

The Athenian Calendar - Ancient History Encyclopedia

Ancient Athenian Festival Calendar - A Forest Door

Dunn, Francis M. “The Council's Solar Calendar.” The American Journal of Philology, vol. 120, no. 3, 1999, pp. 369–380. JSTOR, www.jstor.org/stable/1562117.


The Oxford Classical Dictionary (1996)  by Hornblower, Simon; Spawforth, Antony
Greek Calendar
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 Tampering with the Calendar
Francis M. Dunn
Zeitschrift für Papyrologie und Epigraphik
Bd. 123 (1998), pp. 213-231
Published by: Dr. Rudolf Habelt GmbH

Benjamin Dean Meritt (1961), The Athenian Year, University of California Press,
Benjamin Dean Meritt (1961). The Athenian Year. University of California Press

[PDF] The Astronomical Orientation of Ancient Greek Theatres in Relation to the Topography and the Greek Mythology
G Pantazis - Civil Engineering and Architecture, 2017

Alan Edouard Samuel (1972). Greek and Roman Chronology: Calendars and Years in Classical Antiquity. C.H.Beck. ISBN 978-3-406-03348-3.

Alan Edouard Samuel (1972). Greek and Roman Chronology: Calendars and Years in Classical Antiquity. Chapter III: Greek Civil Calendars - 1. Athens: C.H.Beck. pp. 57–. ISBN 978-3-406-03348-3.

Greek and Roman Chronology : calendars and years in classical antiquity : A.E. Samuel - Internet Archive

 Sacha Stern (2012). Calendars in Antiquity: Empires, States, and Societies. 1: Calendars of Ancient Greece: OUP Oxford. pp. 25–. ISBN 978-0-19-958944-9.

Michael Gagarin (2009). The Oxford Encyclopedia of Ancient Greece and Rome. Calendar, Greek: Oxford University Press. ISBN 978-0-19-517072-6.

Simon Hornblower; Antony Spawforth; Esther Eidinow (2012). The Oxford Classical Dictionary. Greek calendar: OUP Oxford. pp. 263–. ISBN 978-0-19-954556-8.

Walsh, John A. “The Omitted Date in the Athenian Hollow Month.” Zeitschrift Für Papyrologie Und Epigraphik, vol. 41, 1981, pp. 107–124. JSTOR, www.jstor.org/stable/20186007.

Ritual and civic temporalities in Greek tragedy
MA Widzisz - 2005 - search.proquest.com
http://repositories.lib.utexas.edu/bitstream/handle/2152/1774/widziszd51895.pdf

Mikalson, Jon D. “HMERA APOFRAS.” The American Journal of Philology, vol. 96, no. 1, 1975, pp. 19–27. JSTOR, www.jstor.org/stable/293586.

The Sacred and Civil Calendar of the Athenian Year - Jon D. Mikalson - Google Books

Greek and Roman Calendars - Robert Hannah - Google Books

The Greek Calendar
George Thomson
The Journal of Hellenic Studies
Vol. 63 (1943), pp. 52-65
Published by: Society for the Promotion of Hellenic Studies
DOI: 10.2307/627003

Postscript: The Athenian Calendars
W. Kendrick Pritchett
Zeitschrift für Papyrologie und Epigraphik
Bd. 128 (1999), pp. 79-93
Published by: Dr. Rudolf Habelt GmbH

The Calendar of the Gibbous Moon
W. Kendrick Pritchett
Zeitschrift für Papyrologie und Epigraphik
Bd. 49 (1982), pp. 243-266
Published by: Dr. Rudolf Habelt GmbH

The Athenian Calendar
W. S. Ferguson
Classical Philology
Vol. 3, No. 4 (Oct., 1908), pp. 386-398
Published by: University of Chicago Press

Jon D. Mikalson (2015), The Sacred and Civil Calendar of the Athenian Year, Princeton University Press, ISBN 978-1-4008-7032-5

William Kendrick Pritchett; Otto Neugebauer (1947), The calendars of Athens, Harvard Univ. Press

Lambert, Stephen. “The Sacrificial Calendar of Athens.” The Annual of the British School at Athens, vol. 97, 2002, pp. 353–399., www.jstor.org/stable/30073193.

Ralph M. Rosen (19 April 2004). Time and Temporality in the Ancient World. UPenn Museum of Archaeology. pp. 147–. ISBN 978-1-931707-67-1.

Miles, M., & Neils, J. (2021). Athenian Festivals. In J. Neils & D. Rogers (Eds.), The Cambridge Companion to Ancient Athens (Cambridge Companions to the Ancient World, pp. 332-344). Cambridge: Cambridge University Press. doi:10.1017/9781108614054.025
The Cambridge Companion to Ancient Athens - Google Books

Calendars of Athens again
W. Kendrick Pritchett
Bulletin de correspondance hellénique Année 1957 Volume 81 Numéro 1 pp. 269-301

The Athenian Lunar Month
W. Kendrick Pritchett
Classical Philology
Vol. 54, No. 3 (Jul., 1959), pp. 151-157
Published by: University of Chicago Press
Stable URL: http://www.jstor.org/stable/266785

The Intercalary Month at Athens
W. Kendrick Pritchett
Classical Philology
Vol. 63, No. 1 (Jan., 1968), pp. 53-54
Published by: University of Chicago Press
Stable URL: http://www.jstor.org/stable/268104

Leonhard Schmitz, The Classical Museum: A Journal of Philology, and of Ancient History and Literature, V. On the Attic Dionysia: Cambridge University Press, pp. 70–, ISBN 978-1-108-05776-9

Nancy Evans (2010), Civic Rites: Democracy and Religion in Ancient Athens, The Lenaea: University of California Press, pp. 189–, ISBN 978-0-520-26202-7

Nancy Evans (2010), Civic Rites: Democracy and Religion in Ancient Athens, Dionysus Civic Rituals: University of California Press, pp. 170–, ISBN 978-0-520-26202-7



Royal Astronomical Society, Quarterly Journal
http://articles.adsabs.harvard.edu/full/1988QJRAS..29..511S

The Metonic and Callippic cycles
Fotheringham, J. K.
Monthly Notices of the Royal Astronomical Society, Vol. 84, p.383-392


Bradley Hudson McLean (2002), An Introduction to Greek Epigraphy of the Hellenistic and Roman Periods from Alexander the Great Down to the Reign of Constantine (323 B.C.-A.D. 337), University of Michigan Press, pp. 159–, ISBN 0-472-11238-4

J. Rasmus Brandt; Jon W. Iddeng (2012). Greek and Roman Festivals: Content, Meaning, and Practice. OUP Oxford. ISBN 978-0-19-969609-3.

 Robert Parker (2005). Polytheism and Society at Athens. OUP Oxford. ISBN 978-0-19-153452-2.

 August Mommsen , Feste der Stadt Athen im Altertum: Geordnet nach attischem Kalender, BoD – Books on Demand, ISBN 978-3-95580-315-5
https://archive.org/stream/festederstadtat00mommgoog#page/n6/mode/1up

Sir Arthur Wallace Pickard-Cambridge; John Gould; David Malcolm Lewis (1968), The dramatic festivals of Athens, Clarendon Press, ISBN 978-0-19-814258-4

Yale studies in the history of science and medicine. Volume 11. Sharon Louise Gibbs Greek and Roman Sundials. 1976. ISBN 978-0-300-01802-8.

 Elias Joseph Bickerman. Chronology of the ancient world. Cornell University Press.

 William Bell Dinsmoor. The Archons of Athens in the Hellenistic Age. Literary Licensing, LLC. ISBN 978-1-258-55533-7.

 Robert Hannah (2013). Greek and Roman Calendars. A&C Black. ISBN 978-1-84966-751-7.

B. L. van der Waerden (1960). Greek Astronomical Calendars and their Relation to the Athenian Civil Calendar. The Journal of Hellenic Studies, 80, pp 168-180. doi:10.2307/628385.
http://journals.cambridge.org/article_S0075426900101107

Andrea Orlando (27 May 2017). The Light, The Stones and The Sacred: Proceedings of the XVth Italian Society of Archaeoastronomy Congress. A Study on the Orientation of Greek Theatres: Springer. pp. 107–. ISBN 978-3-319-54487-8.

Salt AM (2009) The Astronomical Orientation of Ancient Greek Temples. PLoS ONE 4(11): e7903. https://doi.org/10.1371/journal.pone.0007903

The Omitted Day in Athens and the Mysteries
Benjamin D. Meritt
Zeitschrift für Papyrologie und Epigraphik
Bd. 35 (1979), pp. 145-151
Published by: Dr. Rudolf Habelt GmbH
Stable URL: http://www.jstor.org/stable/20185733

The Count of Days at Athens
Benjamin D. Meritt
The American Journal of Philology
Vol. 95, No. 3 (Autumn, 1974), pp. 268-279
Published by: Johns Hopkins University Press
DOI: 10.2307/293914
Stable URL: http://www.jstor.org/stable/293914

Also
Ronald S. Stroud; Jaan Ruhvel (1977). California Studies. University of California Press. pp. 181–. ISBN 978-0-520-09565-6.

The Hollow Month At Athens
Benjamin D. Meritt1
Mnemosyne, Volume 30, Issue 3, pages 217 – 242
Publication Year : 1977
http://dx.doi.org/10.1163/156852577X00509

Athenian Calendar Problems
Benjamin D. Meritt
Transactions and Proceedings of the American Philological Association
Vol. 95 (1964), pp. 200-260
Published by: Johns Hopkins University Press
DOI: 10.2307/283790

Meritt, B. D. (1968). Calendar Studies. ArchEph, 1969, 77-115.

Boutsikas, E. (2015). Greek Temples and Rituals. In Handbook of Archaeoastronomy and Ethnoastronomy (pp. 1573-1581). Springer New York.


Robert Hannah (2013). Greek and Roman Calendars. A&C Black. ISBN 978-1-84966-751-7.

Edward M. Reingold; Nachum Dershowitz (5 April 2018). Calendrical Calculations: The Ultimate Edition. Olympiad Year Reckoning: Cambridge University Press. p. 82. ISBN 978-1-108-54803-8.

Primitive Time-Reckoning : Martin P. Nilsson - Internet Archive

Olympiad - Wikipedia

Hannah, R. (2015). Ancient Greek Calendars. Handbook of Archaeoastronomy and Ethnoastronomy, pp 1563-1571.
http://link.springer.com/content/pdf/10.1007/978-1-4614-6141-8_156.pdf

Daniel Ogden (2010). A Companion to Greek Religion. Chapter 13: Time and Greek Religion - J. Davidson: John Wiley & Sons. pp. 204–. ISBN 978-1-4443-3417-3.

Athenian Calendars and Ekklesias : Pritchett, W. Kendrick - Internet Archive
Journal

Archive for History of Exact Sciences
https://www.jstor.org/journal/archhistexacscie
 
Van der Waerden, B. L. “Greek Astronomical Calendars: I. The Parapegma of Euctemon.” Archive for History of Exact Sciences, vol. 29, no. 2, 1984, pp. 101–114. JSTOR, www.jstor.org/stable/41133705.
 
Van der Waerden, B. L. “Greek Astronomical Calendars: II. Callippos and His Calendar.” Archive for History of Exact Sciences, vol. 29, no. 2, 1984, pp. 115–124. JSTOR, www.jstor.org/stable/41133706.

Van der Waerden, B. L. “Greek Astronomical Calendars: III. The Calendar of Dionysios.” Archive for History of Exact Sciences, vol. 29, no. 2, 1984, pp. 125–130. JSTOR, www.jstor.org/stable/41133707.

Van der Waerden, B. L. “Greek Astronomical Calendars: IV. The Parapegma of the Egyptians and Their ‘Perpetual Tables.’” Archive for History of Exact Sciences, vol. 32, no. 2, 1985, pp. 95–104. JSTOR, www.jstor.org/stable/41133746.

Van der Waerden, B. L. “Greek Astronomical Calendars V. The Motion of the Sun in the Parapegma of Geminos and in the Romaka-Siddhānta.” Archive for History of Exact Sciences, vol. 34, no. 3, 1985, pp. 231–239. JSTOR, www.jstor.org/stable/41133770.

Van der Waerden, B. L. “Greek Astronomical Calendars and Their Relation to the Athenian Civil Calendar.” The Journal of Hellenic Studies, vol. 80, 1960, pp. 168–180. JSTOR, www.jstor.org/stable/628385.

Paul A. Iversen. “The Calendar on the Antikythera Mechanism and the Corinthian Family of Calendars.” Hesperia: The Journal of the American School of Classical Studies at Athens, vol. 86, no. 1, 2017, pp. 129–203. JSTOR, www.jstor.org/stable/10.2972/hesperia.86.1.0129.

Thomson, George. “The Greek Calendar.” The Journal of Hellenic Studies, vol. 63, 1943, pp. 52–65. JSTOR, www.jstor.org/stable/627003.

Robin Osborne: Competitive festivals and the polis: a context for the dramatic festivals at Athens 
pp 21-37 in Tragedy, Comedy and The Polis edited by Alan H. Sommerstein 1990


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Thursday, 15 October 2015

Athens: Competions, Prizes and the Street of Tripods

In Classical Greece, the greater part of the state-sponsored public spectacles took place in the form of competitions [ἀγῶνες]. It is in this form that the dramatic festivals took place at Athens. The administration and oversight of the dramatic contests during the Great Dionysia and the Lenaia were entrusted by the polis of Athens to the Eponymous Archon and to the Archon Basileus respectively. In the case of the Rural Dionysia, these responsibilities fell upon the individual municipalities and it was their local demarchs [local mayors and chief magistrate of a deme] who took charge within their own territories. These demarchs oversaw the organisation, financing, and dealing with the religious matters of the festivals for their own communities.

Agon - Wikipedia
ἀγών - Wiktionary, the free dictionary

Getting ready for a dramatic competition involved a complex set of operations:-

Appointment of the Choregoi.

The Liturgy of Choregy was one of the ways by which a rich citizen could perform a public service, and one by which the Athenian polis transferred the expensive responsibility for sponsoring Choruses for dramatic performances onto particular rich citizens.

Choregoi were appointed by the presiding Archon for the particular festival and they were chosen from amongst the Athenian citizens of the greatest wealth from one of the ten tribes [phylai] of Athens which were charged to find the richest from their number on a round-robin basis. Choregoi belonged to the highest socio‐economic tier, roughly one per cent of the citizen population. In the 4th Century BC around 1200 citizens met the criteria for performing a liturgy by reason of their wealth. Typically a minimum 3 or 4 talents of total wealth would place a person into this category for selection as a Choregos. 

The function of the choregos was to arrange for the provisioning of a Chorus from males selected from his own tribe, provide and pay for their costumes and masks [50 persons in the case of a dithyrambic contests, 15 or 12 for tragic performances and satyr plays, 24 for a comedy plays], the hiring of a space or rooms for their rehearsals, the hiring of musicians, pay for those members of the Chorus' board and lodging whilst they were away from their homes.

The most affluent members of society were obligated to fund and sponsor specific public services in the form of liturgies: the principal ones being hierarchy, choregia, gymsiarchy and hestiasis. In the 4th century, around 200 citizens of Athens, compelled by their wealth, were tasked with providing these liturgies. The role of the dramatic liturgy or choregia was to arrange for and organize a tragic or comic Chorus for the dramatic festivals of Athens. To accomplish this, the choregos [the sponsor] had first to assemble the required number of persons, 15 for a tragedy (in the time of Sophocles) and 24 for a comedy. Recruitment was facilitated by the widespread presence of orchestral and musical instruction in Athens, when at the time ten dithyrambic concerts alone demanded 500 choreutes [members of a Chorus] annually.

Athenian law empowered the Choregos with significant authority for recruitment, allowing for fines and seizures of assets upon those who, without valid reasons, refused to participate. The Choregos' responsibilities were diverse, including the renting of a sufficiently large enough space or room for the rehearsal of the Chorus, the provision of drinks and refreshments during the rehearsal sessions, and the furnishing of luxurious choral equipment such as golden crowns and purple garments, and other masks and costumes. Additionally, the Choregos had to handle the costs of the daily board and lodging for the Chorus during the lengthy rehearsal period, as well as to oversee the payment for and attire of an Aulete, the aulos player responsible for leading the Chorus' songs [odes] and dances.
After appointment each Choregos would also engage an assistant, a person to help him manage his role. Generally they would appoint one of the three Epimelites [the word means curator or trustee, one who takes care] for the tribe to help him manage the spending of the large sum of monies he had to spend of his liturgy, and to ensure if that Choregos won the tribe's own records would be updated with the details of the win.

In the 4th century BC, with the poets and playwrights no longer personally oversaw their own dramas, the Choregos also had to appoint a chorodidascal [choreographer], a professional instructor of a Chorus, managing subordinates. The Choregos also had to cover extra expenses for witnesses, confidants, guards, and occasionally a second chorus in specific plays. On average, a tragic Choregia cost 25 minas, whilst a comic Choregia cost around 15 minas.

Towards the end of the Peloponnesian War, with the general impoverishment in Athens due to war and disease, led to the replacement of Choregia with Synchoregia — a temporary measure in which two wealthy individuals jointly covered and shared the expenses of sponsoring a Chorus. By 398 BC, the ancient Choregia was reinstated, lasting until the late 4th century when it gave way to a new system called Agonothesia, around 308 BC. This new system involved a general commissioner of festivals, elected annually, primarily responsible for the training of lyric and dramatic Choruses. The commissioner received an insufficient subsidy, and had to supplement it with personal funds, as seen in a decree where one agonothetes personally spent seven talents. Agonothesia continued throughout the 1st century BC.
Selection of Jurors and the Voting System Verdict and Awards. Following the conclusion of the dramatic competitions, the judgement unfolded, signifying the official ranking of the participants¹. The process of jury selection and voting involved four sequential steps: 1° Preliminary creation of a comprehensive list of judges before the competition; 2° Random selection of ten judges at the start of the competition; 3° Confidential voting by these ten judges at the end of the competition; 4º A draw held to extract five final votes from the ten cast. The task of drawing up the initial list of judges was jointly shared between the Council of Five Hundred [Boulé] and the Choregoi [sponsors of Choruses], with the latter including Poets, Choreographers, and Protagonists. [The Council of 500 represented the full-time government of Athens. It consisted of 500 citizens, 50 from each of the ten tribes, who served for one year. The Council could issue decrees on its own, regarding certain matters, but its main function was to prepare the agenda for meetings of the Assembly.] ¹ The voting for the Poet/Playwrights and the Choreographers was combined and separate from that of the voting for the Protagonists (Principal Actors). The right to nominate candidate judges/jurors for the competition was exercised in each of the Athenian tribes by their nomination of an equal number of such judges/jurors from each tribe. These candidate judges/jurors' names were placed into urns; each urn bore the seal of the polis of Athens and the private seal of the choregos of the tribe concerned. Until the very first day of the competition, these sealed urns were kept for safekeeping on the Acropolis, most likely in the opisthodomos of the Parthenon, and supervised under the watchful eyes of Athena's treasurers.

On the first day of the competition, the urns were brought down from the Acroplis to the Dionysian theatre and there opened by the presiding Archon for that competition. By means of a mysterious selection process, one name was drawn from each urn by the Archon, thereby creating a list of ten jurors, ensuring each tribe was represented by one juror. This final list of 10 jurors was immediately made to take an oath swearing that they would act in all fairness in their judgements; this oath was administered by the Archon. After the oath each juror received a blank tablet and occupied a special designated section of the theatre. At the conclusion of all the performances, each of the jurors voted by writing down the names of the competitors on their tablets in the order of merit as seen by them. These tablets were placed in a single urn. 

[It is worthy of note that the method of selection of the Archons for Athens involved much the same kind of procedure. The names of nine Archons and their secretary were chosen by lot from a general list of 500 candidates. According to Aristotle, these candidates had been previously designated by lot in a proportion of 50 names per tribe. This kind of procedure is called Sortition.] 

Subsequently, a final drawing of lots, in this case of the voting tablets occurred, reducing the initial ten tablets down to five. These five votes or tablets constituted the final verdict in the competition. This procedure was undoubtedly followed in the comedy competition, and there is no real reason why it might not have been different for the tragedy competition. Textual evidence confirms that the names of the final five judges and their individual votes were publicly known, suggesting that each of tablets they voted on also bore the voter's name. Whilst the exact method used to the final draw of voting tablets remains unknown, we can speculate that it was based on what the typical and customary Athenian approach to voting was. Consider that there were three urns: one containing the jurors ten voting tablets, the second having five black cubes and five white cubes, and a third used for cancelled/invalid/discarded/not to be used voting tablets. A voting tablet would be drawn from the first urn, and a cube from the second. If the vote corresponded to a black cube from the 2nd urn, it would be thrown into the urn for invalid ballots; if a white cube was drawn from the 2nd urn, the vote would be deemed valid and count towards the final vote. 

This dual drawing process would continue until all five white cubes were drawn from the 2nd urn, concluding the selection of votes for the final draw. In the previously described voting system, elaborate measures were employed to ensure against bribery and fraud influencing the final result. After two elimination rounds, chance alone determined the selection of the final five judges. Despite these precautions, historical records reveal instances where intrigue and monetary influences managed to corrupt both the Archon and the selected jurors/judges. It is important to note that public influence on the verdict was minimal in this system, but as Plato argued that the cheers or jeers of an ignorant crowd often intimidated the judges/jurors to vote for a decision not quite based on their own personal opinion.

Moving onto the competition aspect, whether tragic or comic, each event concluded with the presentation of three prizes. These were the awards - one given to the winning Poet (playwright and also for his choreography), and one for the Protagonist (principal actor) - the Choregos also gained recognition for his sponsorship. Originally it was supposed that the prize for tragedy consisted of a goat, which the victorious Choregos, playwright and his team then supposedly offered as a sacrifice to Dionysos. For comedy the prize was a jar of wine. However, during the classical period in Athens, during 5th century BC, the prize evolved into simply becoming a wreath of ivy, a stephanos or crown, publicly declared by the herald in the midst of the theatre. It is essential to differentiate these prizes to those paid for from the ticket sales [two obols per day per seat], as all participating poets/playwrights also received a monetary sum, presumably proportionate to their relative ranking in the competition.
The Calendar of the Great Dionysia Festival in Athens Held annually in late March (Athenian month of Elaphebolion), it was a vibrant celebration of theatre, music, wine, and revelry. Festival's schedule: Day 1 (10th Elaphebolion): Procession (Pompe): The festival starts with a grand procession, winding through Athens. Citizens dressed in white, foreigners in red, and priests carrying a statue of Dionysus Eleuthereus parade amidst music, singing, and offerings. Sacrifices: At the temple of Dionysus Eleuthereus, bulls and other animals are sacrificed, and prayers are offered for blessings. Days 2-4 (11th-13th Elaphebolion): Dithyrambic Competitions: Choruses compete in singing dithyrambs, hymns praising Dionysus. These performances were energetic and emotional, often involving dancing and costumes. Proagon:- A pre-festival day, featuring a Proagon, was also part of the festivities. Post 444 BC, the Proagon took place in the Odeion, though records don't specify its earlier location or existence. An intriguing description of the Proagon for the Lenaia can be found in Plato's Symposium (194a and ff.). It seems that each participating group erected a temporary stage with actors and a chorus upon which they announced the theme of the plays they intended to present in the competition.

Plato, Symposium, section 194a

Days 5-7 (14th-16th Elaphebolion):
  Dramatic Competitions: The highlight of the festival. Three playwrights [poets] on each day each present four plays: three tragedies and a satyr play.




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Odos Tripodon  ("Street of the Tripods"),

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Street of the Tripods

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The monument was originally crowned by thetripod which was the prize of the successful chorus, and it doubtless was one of many buildings of similar character along the famous " Street of Tripods .

Description

Starting from the beginning of the 5th century BC, it became customary for a choragos (the sponsor who paid for and supervised the training of a dramatic dance-chorus) who had won the contest at the Theatre of Dionysos to set up a choragic monument in the "Street of the Tripods". Such a choragic monument usually served as a support for the bronze tripod given to the winning choragos. These monuments were often adorned with wall paintings and sculptures.

This street, simply known as "Tripods" during our period of reference, started near the Eleusinion and circled the north side of the Akropolis Rock on a distance of 800 m up to the Odeion. The street was, with the road to the Akademeia, one of the favourite promenade of the Athenians.

These tripods were displayed either in or near the sanctuary of Dionysos on the South Slope of the Acropolis or along the Street of the Tripods, an ancient road which ran south from the Prytaneion to the area of the Theatre of Dionysos.

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The team that won the contest received a bronze tripod as prize. Many of those choregoi built monuments to exhibit these tripods, and these monuments used to be aligned all along the "Street of Tripods" from the theatre of Dionysios to the Eleusinion in the Athenian Agora.


www.ascsa.edu.gr/pdf/uploads/hesperia/147593.pdf
by BAGK SAITA - ‎Cited by 9 - ‎Related articles





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Choragic Monuments

Tripodon Street ("Street of the Tripods") in Athens leads from the Prytaneum in the Agora housing the symbolic hearth of the community of Athens winding around the Acropolis to the Theatre of Dionysus on its southern side. The tripods were sponsors' prizes in the dramatic and dithyrambic competitions: they were sometimes dedicated to the god Apollo. The Choregoi, if their team won, had to pay for the erection of these monumental "tripods". Prytaneion - Wikipedia πρυτανεῖον/prutaneîon/“city hall” where VIPs [ambassadors and others] were feasted and dined by the City of Athens.
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