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Group members:
Rajeef Suckra
Chantelle Beckford
Karinski Brown
Othelia Service
 A theatrical culture that flourished in ancient
Greece.
 Came into existence in Athens, Greece, and
was usually staged there.
 Greek drama was constructed as a way of
honouring Dionysus, the Greek God of ecstasy.
 Athenians spread these festivals to its
numerous allies to promote a common identity.
 Staged in the amphitheatre.
 represents an ethos, a social consciousness that
serves as a constant reminder of moral and
social issues at stake in the drama.
The chorus in
comedy is 24
The chorus in
tragedy changed
overtime from 50
to 15
 Lamentation or warning.
 Heightening significant moments.
 Encouraging and rejoicing.
 Foretelling the future.
 Remembering what characters had forgotten
and did not know.
 Better performed by symphonies and
orchestras today.
 Choral entry song (parados)- in which the
Greeks invite the God/Gods before beginning.
 First stasimon- reflects what was done in the
episodes and puts it in a larger mythological
framework (usually done in tragedies).
 Exodus- the exit song, offers words of wisdom
related to the actions and outcome of the play.
 Greek term for mask is persona.
 Known to have been used since the time of
Aeschylus and considered to be one of the
ironic conventions of classical theatre.
 Made of wood, stiffened linen, animal and
human hair, cork, leather.
 Exaggerates expressions to help define the
characters being portrayed (sex, age, social
status).
 Allowed actors to play various roles or
genders.
 Had greater dramatic effect in tragedies.
 Were normally ugly and unsightly in comedy
and satyr plays, but life-like in tragedies.
Greek Drama
 Help to create character.
 They were elaborate decorated versions of
everyday clothing of the Athenians.
 Tragic actors wore buskins (raised platform
shoes) to symbolise superiority.
 Comedy actors wore plain socks.
 For female roles, males wore a prosterneda
(imitation of breasts) and progustreda
(stomach or belly), both wooden parts.
Greek Drama
 It depicts the downfall of a good person by a
fatal error or misjudgment, producing suffering
and insight on the part of the protagonist and
arousing pity and fear on the part of the
audience.
 It should evoke pity and fear on the part of the
audience.
 A tragic hero must be essentially admirable
and good.
 In a true tragedy a hero’s demise must come as
a result of some persona error or decision.
 Anagnorisis- the moment that the tragic hero
suddenly realises the web of fate he has entangled
himself in.
 Hamartia- the error of the protagonist that
eventually leads to the final event in the play. It
can be something as simple as a miscalculation or
slip-up.
 Nemesis or retribution- the inevitable punishment
or cosmic payback for the acts of pride or over-
aspiration on the hero’s part.
 Peripateia (plot reversal)- a crucial action on the
part of the protagonist that changes his situation
from seemingly secure to vulnerable.
 Ancient comedy originated from the komos, a
curious spectacle in which a company of festive
males apparently sang, danced, and cavorted
rollickingly around the large phallus.
 For most of its history, comedy has involved a
high-spirited celebration of human sexuality
and the triumph of eros.
 In essence, a comedy is a story of the rise in
fortune of a sympathetic central character.
 Comic figures are usually average or below
average in terms of moral character.
 The most ridiculous characters are those who
are high-born, but self-centered instead of truly
noble.
Greek Drama
Greek Drama
 Diazoma- horizontal walkway dividing upper and
lower sections of the theatre.
 Kerkis- wedge-shaped seating section of the
theatron.
 Klikames- stairways in the theatron
 Logeion- Greek stage.
 Orchestra- space between the audience and the
stage; primary chorus performance space in Greek
theatre.
 Paraskenion- hellenistic projecting side
additions to the skene.
 Parodos- side entrance into the orchestra of a
Greek theatre.
 Skene- building behind the orchestra originally
used for storage but provided a convenient
backing for performances.
 http://www.whitman.edu/theatre/theatretou
r/glossary/glossary.htm
 http://condor.depaul.edu/dsimpson/tlove/c
omic-tragic.html
 The School for New Learning, DePaul
University, Chicago, IL 60604
© David L. Simpson, 1998

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Greek Drama

  • 1. Group members: Rajeef Suckra Chantelle Beckford Karinski Brown Othelia Service
  • 2.  A theatrical culture that flourished in ancient Greece.
  • 3.  Came into existence in Athens, Greece, and was usually staged there.  Greek drama was constructed as a way of honouring Dionysus, the Greek God of ecstasy.  Athenians spread these festivals to its numerous allies to promote a common identity.  Staged in the amphitheatre.
  • 4.  represents an ethos, a social consciousness that serves as a constant reminder of moral and social issues at stake in the drama. The chorus in comedy is 24 The chorus in tragedy changed overtime from 50 to 15
  • 5.  Lamentation or warning.  Heightening significant moments.  Encouraging and rejoicing.  Foretelling the future.  Remembering what characters had forgotten and did not know.  Better performed by symphonies and orchestras today.
  • 6.  Choral entry song (parados)- in which the Greeks invite the God/Gods before beginning.  First stasimon- reflects what was done in the episodes and puts it in a larger mythological framework (usually done in tragedies).  Exodus- the exit song, offers words of wisdom related to the actions and outcome of the play.
  • 7.  Greek term for mask is persona.  Known to have been used since the time of Aeschylus and considered to be one of the ironic conventions of classical theatre.  Made of wood, stiffened linen, animal and human hair, cork, leather.
  • 8.  Exaggerates expressions to help define the characters being portrayed (sex, age, social status).  Allowed actors to play various roles or genders.  Had greater dramatic effect in tragedies.  Were normally ugly and unsightly in comedy and satyr plays, but life-like in tragedies.
  • 10.  Help to create character.  They were elaborate decorated versions of everyday clothing of the Athenians.  Tragic actors wore buskins (raised platform shoes) to symbolise superiority.  Comedy actors wore plain socks.  For female roles, males wore a prosterneda (imitation of breasts) and progustreda (stomach or belly), both wooden parts.
  • 12.  It depicts the downfall of a good person by a fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arousing pity and fear on the part of the audience.  It should evoke pity and fear on the part of the audience.  A tragic hero must be essentially admirable and good.
  • 13.  In a true tragedy a hero’s demise must come as a result of some persona error or decision.
  • 14.  Anagnorisis- the moment that the tragic hero suddenly realises the web of fate he has entangled himself in.  Hamartia- the error of the protagonist that eventually leads to the final event in the play. It can be something as simple as a miscalculation or slip-up.  Nemesis or retribution- the inevitable punishment or cosmic payback for the acts of pride or over- aspiration on the hero’s part.  Peripateia (plot reversal)- a crucial action on the part of the protagonist that changes his situation from seemingly secure to vulnerable.
  • 15.  Ancient comedy originated from the komos, a curious spectacle in which a company of festive males apparently sang, danced, and cavorted rollickingly around the large phallus.  For most of its history, comedy has involved a high-spirited celebration of human sexuality and the triumph of eros.  In essence, a comedy is a story of the rise in fortune of a sympathetic central character.
  • 16.  Comic figures are usually average or below average in terms of moral character.  The most ridiculous characters are those who are high-born, but self-centered instead of truly noble.
  • 19.  Diazoma- horizontal walkway dividing upper and lower sections of the theatre.  Kerkis- wedge-shaped seating section of the theatron.  Klikames- stairways in the theatron  Logeion- Greek stage.  Orchestra- space between the audience and the stage; primary chorus performance space in Greek theatre.
  • 20.  Paraskenion- hellenistic projecting side additions to the skene.  Parodos- side entrance into the orchestra of a Greek theatre.  Skene- building behind the orchestra originally used for storage but provided a convenient backing for performances.
  • 21.  http://www.whitman.edu/theatre/theatretou r/glossary/glossary.htm  http://condor.depaul.edu/dsimpson/tlove/c omic-tragic.html  The School for New Learning, DePaul University, Chicago, IL 60604 © David L. Simpson, 1998