Clst 181SK Ancient Greece and the Origins of Western Culture The Birth of Drama
The Birth of Drama The three great Classical tragedians: � Aeschylus 525-456 BC Sophocles 496-406 BC Euripides 486-406 BC � pathei mathos - “learning through suffering” Aeschylus, Agamemnon
The Birth of Drama The three great Classical tragedians: � Aeschylus 525-456 BC Oresteia (includes Agamemnon), Prometheus Bound Sophocles 496-406 BC Oedipus the King, Antigone, Ajax, Philoctetes Euripides 486-406 BC Medea, Trojan Women, Iphigeneia, Orestes
The Birth of Drama Theater of Dionysus, Athens �
The Birth of Drama Theater of Dionysus, Athens �
The Birth of Drama Theater of Dionysus, Athens �
The Birth of Drama Theater at Epidaurus �
The Birth of Drama Theater at Epidaurus, acoustics
The Birth of Drama
The Birth of Drama Playwright � � (e.g. Aeschylus, Sophocles, Euripides) � • didaskalos (cf. "didactic": literally, "teacher") • text + music + dance + direction • early on, also an actor �
The Birth of Drama Actors � • limited to 3 (early on 2, but all our plays require 3) � • wore masks: probably paper-mache or the like, full head, perhaps enhanced projection of voice; allowed actors to play more than one part or to change the nature of a given part (e.g. Oedipus himself)
The Birth of Drama Chorus � • 15 (early on 12) members • dancing AND singing! • choruses were widespread in Greek culture: marriages, funerals, athletic victories, religious festivals-- even battles!
The Birth of Drama Chorus � • 15 (early on 12) members • dancing AND singing! • choruses were widespread in Greek culture: marriages, funerals, athletic victories, religious festivals-- even battles! Origins - Developmental narrative � • Chorus: Agrarian religious festival • Thespis: introduces an “actor” who responds to chorus • Two actors plus chorus • Three actors plus chorus fundamental, and fundamentally different, is this opposition between chorus and actor, the alternation between spoken lines and those sung and danced, between lines that are part of the "drama" proper, and lines that are lyrical reflections by the chorus (e.g. first chorus of the Oedipus the King, pp. 151)
The Birth of Drama Origins - Developmental narrative � Chorus: Agrarian religious festival • Thespis: introduces an “actor” who responds to chorus • Two actors plus chorus • Three actors plus chorus • Chorus: structure of Greek tragedy Oedipus the King � Prologue, 1-150. (Priest, Oedipus, Creon) Parodos , 151-215 (Entrance of the Chorus: introductory Choral song during the procession) First Episode , 216-462 (Oedipus, Teiresias) First Stasimon , 463-512 (First Choral interlude: song, dance) Second Episode , 513-862. (Creon, Oedipus, Chorus; Jocasta) Second Stasimon , 863-910. (Second Choral interlude: song, dance) Third Episode , 911-1085. (Jocasta, Messenger, Chorus; Oedipus) Third Stasimon , 1086-1109. (Third Choral interlude: song, dance) Fourth Episode , 1110-1185. (Oedipus, Shepherd, Chorus) Fourth Stasimon , 1186-1222. (Fourth Choral interlude: song, dance) Exodos , 1223-1530. (Messenger, Chorus; Oedipus, Creon)
Clst 181SK Ancient Greece and the Origins of Western Culture Sophocles Oedipus the King The Classical Moment �
Sophocles Oedipus the King =Oedipus Rex [Latin], ΟΙΔΙΠΟΥΣ ΤΥΡΑΝΝΟΣ [Greek] Oedipus & the Sphinx
Sophocles pathei mathos - “learning through suffering” Aeschylus, Agamemnon Oedipus the King People and places to know: � Oedipus Jocasta Laius (Polybus Merope) Sphinx Teiresias Apollo = Phoebus = Loxias = Pytho’s god Delphi = Pytho Cithaeron (mountain above Thebes) Thebes
Sophocles Oedipus the King Thebes
Sophocles Oedipus the King Thebes
Sophocles Oedipus the King Background � Apollo and Delphi : Apollo as the voice of Zeus miasma : blood pollution that infects the family, and for a royal family the city itself riddle of the Sphinx : what has a voice and is sometimes 2-footed, sometimes 3-footed, and sometimes 4-footed, yet violates the natural principle that the animal with more feet is the stronger? OR what is 4-footed in the morning, 2-footed in the afternoon, 3-footed in the evening? story of Oedipus : Outlines of the story appear already in the Odyssey. Coming to the play Greeks would know the essentials: Oedipus King of Thebes killed his father, slept with his mother bearing four children, blinded himself, was exiled.
Sophocles Oedipus the King The Function of the CHORUS � �
Sophocles The Function of the CHORUS Oedipus the King � � Prologue , 1-150. (Priest, Oedipus, Creon) The priests of Thebes appear before Oedipus as suppliants, entreating him to find some end to the plague. Oedipus has already sent Creon to Delphi, who arrives to report that the killer of Laius must be sought out and banished. Oedipus vows to find the killer and summons the people of the city. � Parodos , 151-215. The Chorus of Theban citizens offer prayers to Zeus, Apollo, Athena for release from the plague. � First Episode , 216-462. Oedipus appeals for information and pronounces his curse on the murderer. Teiresias is summoned: at first he refuses to tell what he knows, but aroused by Oedipus' taunts he declares Oedipus the murderer. Oedipus declares a conspiracy by Creon. Teiresias declares that the murderer is present, and will be found son and husband to his mother. � First Stasimon , 463-512. The Chorus are fearful of the pronouncement of the seer, but declare their loyalty to their king. � Second Episode , 513-862. (Creon, Oedipus, Chorus; Jocasta) Creon is indignant at Oedipus' accusations. They argue over the charge. Jocasta tries to intervene. Kommos , 649-697. The Chorus advise restraint and Oedipus lets Creon go, though he declares him an enemy. Oedipus tells Jocasta the source of the dispute. Jocasta tells the story of Laius' death, and Oedipus recognizes many details: but he was a lone killer, whereas a band of killers was reported. Oedipus worries about the oracle; Jocasta denounces its veracity, adducing the prophesy about her son. � Second Stasimon , 863-910. (Chorus) Ode to the sanctity of divine law. The tyrant who ignores justice and reverence for the gods will fall. The oracles must be true. � Third Episode , 911-1085. (Jocasta, Messenger, Chorus; Oedipus) A messenger arrives from Corinth announcing the death of Polybus and Oedipus' ascension. He allays Oedipus' fear of the oracle (that he will marry his mother) by telling him of his true birth. Over Jocasta's objections Oedipus vows to continue his search for the truth. Jocasta runs into the palace. � Third Stasimon , 1086-1109. (Chorus) Ode to Mt. Cithaeron: we will soon know the parentage of Oedipus. � Fourth Episode , 1110-1185. (Oedipus, Shepherd, Chorus) The shepherd arrives who exposed the infant of Laius and escaped when Laius was killed. Oedipus' parentage becomes clear. Oedipus rushes into the palace. � Fourth Stasimon , 1186-1222. (Chorus) No man is blest: happiness is but an illusion, for even the great power and blessings of Oedipus have come to a fall. �
Sophocles The Function of the CHORUS Oedipus the King � � Oedipus the King � Prologue, 1-150. (Priest, Oedipus, Creon) Parodos , 151-215 (Entrance of the Chorus: introductory Choral song during the procession) First Episode , 216-462 (Oedipus, Teiresias) First Stasimon , 463-512 (First Choral interlude: song, dance) Second Episode , 513-862. (Creon, Oedipus, Chorus; Jocasta) Second Stasimon , 863-910. (Second Choral interlude: song, dance) Third Episode , 911-1085. (Jocasta, Messenger, Chorus; Oedipus) Third Stasimon , 1086-1109. (Third Choral interlude: song, dance) Fourth Episode , 1110-1185. (Oedipus, Shepherd, Chorus) Fourth Stasimon , 1186-1222. (Fourth Choral interlude: song, dance) Exodos , 1223-1530. (Messenger, Chorus; Oedipus, Creon) Episode • Stasimon
Sophocles Oedipus the King The Function of the CHORUS - Pragmatics � � Often said that the chorus is the poet's voice, the means the poet uses of commenting on the action, that this is what the poet "really" thinks. Sometimes true, but most often not. Some fairly obvious (and rather mechanistic or formal) functions: � • chorus is an "act-dividing song": • allows for entrances and exits • allows for the scene to change • marks the passage of time (as after Oed. and Joc. enter the palace after sending for the messenger, at 954ff) • chorus comments directly on what is going on (yes, Oedipus, Creon makes sense, you are being too hasty in your conclusion) • chorus comments less directly (various forebodings, seemingly directed to the audience, important for indicating mood swings much like the use of background music in modern TV and film)
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