tragos tragoidia tragoidos
drama
komos komoidia
Dorians Corinth Sicily
Athens
Dionysus satyr maenad
thyrsos
Pisistratus 6th c BCE
dithyramb
534 BCE Thespis
514-10 expulsion of tyrants
508/7 competitive
dithyramb begins (see Context p. 120#45)
503
democratic reforms
499
Aeschylus' debut
494
Phrynichus' Capture of Miletus
490
Darius Marathon
486
Death of Darius, rise of Xerxes
484
Aeschylus' first victory
480
Xerxes Salamis
476
Phrynichus' Phoenician Women (see Context, p. 25#43)
472
Aeschylus' Persians - Pericles choregos
465
Xerxes dies
Aristotle 330s BCE
prologue parodos episode
stasimon(chorus - strophe,antistrophe) kommos
exodos
stichomythia
proagon (Odeon) Dionysia Lenaia
choregos choregia liturgy archon eponymous judges
Persians Atossa
Darius Xerxes
Ahuramazda
Zarathustra/Zoroaster
Medes Phoenicians
Hellespont Bosporus
Themistocles Salamis Plataea
Hellas Hellenes Dorians
Ionians = Greeks
Phoebus Apollo Zeus
458 BCE Aeschylus' Oresteia trilogy takes 1st at Dionysia
456 Aeschylus dies
in Gela, Sicily
Family Tree of the Royal House of Argos/Mycenae
Zeus
|
Tantalus
|
Pelops
|__________________
|
|
Zeus = Leda = Tyndareus
Atreus
Thyestes
______| |
| (Atreides)
|
Peleus = Thetis
|
| |
|
|
|
Aegisthus
|
Helen Castor Pollux Clytemnestra = Agamemnon
Menelaus = Helen Achilles/Akhilleos
_________________|________
|
|
|
|
|
| Hermione = Neoptolemus/Pyrrhus
Chrysothemis Iphigenia
Electra
Orestes
onkos kothornos/cothurnus = buskin
Theater History - Actors and Acting
hypokrites prot-agonistes deuter-
trit- technites
skenikos
Polos Hermon Hegelochos
didaskolos chorodidaskolos
Theoric Fund
theatron orchestra eisodos/parodos
skene logeion theologeion
proskenion (proscaenium)
mechane (machina) ekkyklema
Charonian steps? for ghost appearances?
Aristotle
catharsis 6 parts of tragedy: plot, character, diction,
thought, spectacle, song
Reversal of situation, Recognition, Pathos/suffering
Libation Bearers = Choëphori
Cilissa Pylades
Furies = Erinyes (Eris) = Eumenides
Pythia Delphi Parnassus
Apollo Pythius omphalos
Note spelling differences in Sophokles
FOR EXAM 2
Royal Family of Thebes
(Kadmos)Cadmus = Harmonia
|
-------------------------
|
|
|
|
Autonoe Semele = Zeus
Agave
Polydorus
|
|
|
|
Actaeon
Dionysus
Pentheus
Labdakos
|
|
Menoikeus
Laios
|________
|______
|
|
| |
Eurydike=Kreon
(Jocasta)Iokaste =====---Oedipus
|________ ________________
|________________
|
| |
|
|
|
Haimon Herakles=Megara Antigone
Ismene Eteokles
Polyneikes
For FINAL
Roman tragedy - adapted from Greek tragedy in 3rd cent. BC, Livius Andronicus
(freed slave) first writer of Latin literature, including first tragedy
and comedy written for ludi Romani (Roman festival games) of 240 BC - plays
adapted from Greek models contracted for entertainment at festivals,
fabula crepidata - tragedy in Latin based on Greek mythological stories; fabula praetexta - tragedy in Latin based on native Roman legendary topics
Ennius - 239-169 BCE - Italian, knew
Greek, Latin, teacher, writer - epic, tragedy, bad comedy; sponsored by famous
Romans, named Roman citizen late in life, loved Greek culture, his nephew
was the tragedian Pacuvius - fragments on handout from ""Alexander" esp. note
the use of Cassandra in a kind of traditional way (prophetess who is not
believed) story of Paris being brought back into Troy as a child, despite
the impending doom
Pacuvius - 220-132/30 - Italian, 'student'
of Ennius, painter, a few tragedies late in life, produced play at same time
as Accius (140 BCE) met with Accius, who modified his tragedies at request
of Pacuvius (135 BC) - fragments on handout from "Dulorestes" - Pacuvius known
for interesting word choices -see fragments 135 and 138-140 on his
relationship with Clytemnestra, also lots of nastiness between Clyt and Electra
Accius (170-after 86 BC) - north Italy,
freedmen parents, to Asia in 135 after Pacuvius meeting, wrote on theater
history and practice, example of fabula praetexta - Brutus - dream of Tarquin
similar to Atossa in Persians
In Roman world, need for trained actors (histrio is the most common name
for them) at festivals arise, but they are much stingier with extending rights
to actors than in Greek world, in fact quite the opposite - they withhold
rights from actors, most of whom are slaves or freedmen, stars had earning
potential more and more spectacle as Rome gets richer -see Cicero on Context
p. 283 at dedication of Pompey's theater - mime and pantomime are the big
theatrical shows in the empire, basically sketch comedy and balletic interpretive
dance showing mythological stories
Audiences - originally mingled all together, Augustus
esp. wants class and gender divisions, front seats and first 14 rows for
upper classes, women sit separately - compare earlier picture of rowdy audience
Context p. 313, but the excitement of Cicero's statement about Pacuvius' tragedy
- p. 312 #191, hard to keep the crowd's attention with all the festival activities
= Context p. 313 #199, professional fans, p. 314
played on temporary stages in Rome and Italy - scaenae frons = stage building,
proscaenium = stage "in front of scaena" + the surface of the stage = pulpitum
(Greek. logeion), cavea = seats, aulaeum = curtain LOWERED into ground at
beginning of show and end, orchestra unnecessary in temporary stands, but
when permanent theaters built, designed as freestanding semicircle for acoustics,
easy access for audience to seats, orchestraused for VIP seating