Ancient Greek Theater

1. Ancient Greek Theater

2. This is where it all began: the Theatre of Dionysus in Athens.

4. Dionysios • God of Wine, Revelry, Song

5. Scope of Influence • Comedy and tragedy developed in Athens • Flourished in fifth and fourth centuries BCE • Influenced nearly all subsequent Western drama.

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7. Theater of Dionysius • The tragedies and comedies written for the Theatre of Dionysus at Athens. • Theatre was dug out of the slope beneath the south side of the Acropolis - late 6th century BCE. • It was rebuilt and expanded many times

12. Theater: • Celebrates the Olympian gods who often appeared as characters. • Honored Dionysus, god of wine and procreation • Often portrayed legendary kings and heroes as well.

13. Theater and the Common Man • Business and activities were suspended during the week-long festivals held three times per year. • It was considered a CIVIC DUTY for people to participate in the productions in some way. • The plays were to give a lesson to the people - DIADACTIC PURPOSE

14. The Physical Structure of the Greek Theater

15. The Lay-out • The theatron: where the audience sat • The orchestra: the circular dancing place for the chorus. • The parados : broad aisles which allowed the chorus to enter the theater. • Skene: a building for props, masks, actors to enter from (scenery).

17. The Physical Structure of the Greek Theater • Held approximately 15,000 people • No sets, props, etc. • Actors’ lines marked the passage of time and the setting. • Design was important for acoustics – no microphones.

18. The Players • Greek tragedy and comedy originated with the chorus, • A tragic chorus consisted of 12 or 15 dancers (choreuts), who may have been young men just about to enter military service after some years of training. • Athenians were taught to sing and dance from a very early age.

19. Performance Characteristics • Plays were initially held with just the chorus singing/chanting the lines. • In 534 BCE Thespis was credited with creating the first actor (thespians). The character spoke lines as a god. • This begins the concept of DIALOGUE – the character interacts with chorus.

20. The Role of the Actor • Aeschylus – earliest Greek tragedy writer brought idea of second actor. • Sophocles – brought third actor – no more than three actors on stage ever in a Greek tragedy. • Euripedes – also used three actors after Sophocles. • Aeschylus, Sophocles, and Euripedes each wrote a version of the Oedipus tragedy, but Sophocles’ version is the most famous.

21. Actors needed to be LARGER THAN LIFE and thus easy to see. • Size was symbolic of their social status. • Chiton – a long, flowing robe, padded at the shoulders for width, selected in symbolic colors • Cothurni – platform shoes for added height

22. The Greek Actor • Participation is a civic duty; many volunteered for the chorus. • Experienced speakers became actors • Actors were revered and exempt from military duty. • Women were excluded from acting and had to sit in the higher seats in the theatron.

23. Masks • The large size of theatre and distance dictated a non-naturalistic approach to acting. • Gestures had to be large and definite so as to 'read' from the back rows. Facial expression would have been invisible to most. • The masks of tragedy were face-fitting size, with wigs attached, and open mouths to allow clear speech. • Their decoration and expression was subtle, as vase paintings from the 5th and 4th centuries attest.

24. Theatrical masks were made of wood, leather or cloth and flour • No originals remain, only stone carvings which may have been used as mask-molds, and the paintings on pottery.

25. Declamatory Acting Style • Actors could not move easily, so lines were delivered in a “speech” style. • Broad sweeping gestures. • General movements to express emotions: Bowed head – grief; beating chest – mourning; stretching arms – prayer. • Minor props – scepter – king, spear – warrior, elderly – cane.

26. Greek Theater Masks

27. Paradox of the Mask • The most distinctive feature of the mask was its ability to limit and broaden at the same time. • Identified a specific character, but also had generalized features which gave an “Everyman” quality. • Allowed each member of audience to “get” the personal message.

28. Oedipus Rex (Oedipus the King) • Written by Sophocles in 430 B.C.E. • Based on a great legend of western culture from Ancient Greece. • Greatest Greek tragedy; drama of extreme tension; one person rules action • Sophocles’ version deals with the discovery of Oedipus’ fate.