The Contributions To The Greek Theatre English Literature Essay Free Essay

The ancient Greeks are celebrated for their many parts to the universe. Among these parts is one that has changed civilization and the humanistic disciplines for good. This part is theatre.

Grecian theater is considered the beginning of theatre as we know it. Theatre began in Athens, circa 600 BC, developing out of rites at the Dionysia. The Dionysia was a festival for followings of the cult of Dionysus, God of vino and celebrations. Greek theatre truly began to take form, nevertheless, around 400 BC. The first histrion was named Thespis, and it is from his name that the word “ thespian ” originated. Thespis was born in Attica, in 534 BC. He began executing addresss from heroic poem verse forms and narratives of the twenty-four hours, talking from that character ‘s point of position. His shows were besides synergistic, as he frequently spoke with the audience. Since no theatre truly existed at the clip, he traveled from topographic point to topographic point with a pushcart. He used masks, make-up, and costumes to do his soliloquies more realistic [ Sandels ] .

We Will Write a Custom Essay Specifically
For You For Only $13.90/page!

order now

Over clip, theater was changed and developed by forward-thinking dramatists. One such dramatist, Aeschylus, introduced the construct of utilizing a 2nd character, so that duologue and the interaction of the characters could be used as a secret plan device. Old ages subsequently, another dramatist, Sophocles, added another histrion, steadily diminishing the importance of the chorus while increasing character interactions. Around the same clip, Euripides bit by bit made theaters more natural and realistic, instead than the stiff, structured signifier of moving [ History ] .

The theatre itself was out-of-doorss and known as an Amphitheater. It was semi-circular in form, and terraced, leting for each visitant to hold perfect position. These seats were called the theatron, literally intending the sing country. On norm, the Amphitheater was able to suit 1,500 viewing audiences and was designed to hold close perfect acoustics. There was normally a theatre in each town, as theatres were besides used for spiritual rites and emanations every bit good as amusement. In the centre was a round platform called the orchestra. On the orchestra was an communion table where forfeits to Dionysus were performed. The phase itself was called the Proscenio. It was situated behind the orchestra, and was constructed much like phases today, although most of the moving took topographic point in the orchestra. The dorsum of this phase had painted backgrounds to make the scenes for each scene [ Englert ] . These edifices were most likely brilliantly painted, although the pigment would hold faded over clip [ Phillips ] . Behind the phase, machines used for the public presentations were kept. These machines were advanced engineering for their twenty-four hours, and included the Aeorema, the Ekeclema, and the Periactoi.

The Aeorema was one of the more normally used. It was a big Crane used to draw histrions through the air. This was most frequently employed to make the semblance of Gods, which led to the look, “ Deus ex Machina ” . The Ekeclema was a wheeled platform. This sometimes ferried dead organic structures across the phase, as slayings and self-destructions were non shown on phase. This tradition stemmed from the superstitious notion that to kill a individual on phase would be announcing of their existent decease. The Periactoi consisted of two pillars, one on each side of the phase, which could turn to alter the background puting without demand of stage technicians [ Ancient ] . All of these were constructed of simple machines, such as blocks, levers, and wheels, made from wood, rope, and metal. They were put to utilize in many celebrated dramas.

The dramas themselves were really similar to the modern musical. They had sing and dance, sometimes accompanied by music. The dramatis personae was comprised of many histrions, called “ dissemblers ” , both professional and recreational. The chief character, or supporter, was normally played by a professional and frequently highly-famed histrion specifically chosen by the dramatist, although some dramatists would portray this character themselves. Like most present musicals, there was besides a chorus. The chorus provided the temper of the drama by singing and dancing. By and large the lead chorus member was a professional terpsichorean and vocalist, and the remainder of the chorus was made up of amateurs. All the histrions were work forces, as adult females were out to look on phase [ Ancient ] . The histrions wore masks when portraying a adult female or animate being. These masks were built from wood, fabric, and clay, sometimes covered in animate being or even human hair. The holes for the eyes were really little, but the gap for the oral cavity was big to let the histrion ‘s voice to vibrate more easy [ Barrow ] . The histrions were sometimes required to have on wooden platform places, or kothomoi, in order to look taller. Actors would besides utilize optical semblances to look taller or shorter. Vertical chevrons were worn to look taller and horizontal chevrons to look shorter [ Ancient ] .

Grecian dramas by and large fell into one of two classs: comedy or calamity. Other than in satirical dramas, these classs would ne’er blend. The modern symbol of play, a smiling comedic mask and a crying tragic mask, stems from these classs. These different types of dramas varied greatly, particularly in their subject.

Comedy dramas included base, coarse wit. Comedy dramas were humourous representations of peasant life and values. They encouraged tradition and criticized what they considered immorality. They were by and large far more popular with the lower category, as they joked about subjects that the upper category would hold been unable to associate to. They were considered by the Greeks to be the easiest to compose and execute. Costumes for comedic dramas normally depended on the characters of the drama. As many of these dramas were about animate beings, so were the costumes. The histrions ‘ masks were overdone and grotesque, proposing that the audience should non take them excessively earnestly [ Comic ] . The most noteworthy comedic dramatist was Aristophanes, and his major dramas include The Frogs and Lysistrata.

Tragedy dramas were non sad or cheerless, but they were approximately more serious topics than the comedic dramas. Alternatively of a helter-skelter, weaving secret plan, tragic dramas had a set beat and form to them. They besides excluded coarseness, be givening non to pique their viewing audiences. Tragedy plays explored the deepness of human emotion and character. They were celebrated for their ability to do the audience to associate to each character in a more empathic manner. They were more sophisticated and suited to the upper category than their humourous opposite number. Costumes were by and large mundane vesture, if somewhat nicer and more elaborate. Noteworthy dramatists of the genre included Sophocles, Euripides, and Aeschylus. Prometheus Bound, Oedipus the King, and Medea are premier illustrations of tragic dramas [ Ancient ] .

Satirical dramas emerged as a via media to the two classs. These dramas dealt with the same subjects and thoughts of a tragic drama, but presented them in a amusing mode. The histrions mocked the cliches and manners of a calamity, and were frequently exaggerated in their idiosyncrasies. These were popular with both the upper and lower categories, and were known for being really witty, a trait the Greeks admired greatly. They were by and large every bit diverting as comedic dramas, but non as rude and violative. Cyclops, written by the poet Euripides, and The Scouts by Sophocles are the lone known bing sarcasm dramas [ Ancient ] . Historians know of their being in ancient Greece from other archeological beginnings. Satire dramas were considered the most hard, for both the histrions and dramatists. In competitions, a dramatist would frequently subject a sarcasm drama to turn out his worth, every bit good as their usual comedian or tragic dramas. They were besides mush shorter than the other dramas, normally merely half every bit long as a calamity.

Grecian dramas were inextricably tied to the Gods. Before each drama, a forfeit would be made to Dionysus, to whom theatre truly owes its beginning. Apollo was besides of import. As the God of music and poesy, Apollo was particularly honored by histrions and dramatists. Equally of import to the theater were the Muses. The Muses were the 9 goddesses of the humanistic disciplines. Terpsichore, Euterpe, Calliope, Thalia, and Melpomene were the most important to the theater. Terpsichore and Euterpe personified dance and music severally, both cardinal elements of Greek theater. Calliope embodied heroic poesy, which was normally the footing of most dramas. Thalia and Melpomene represented the two classs of theater, comedy and calamity [ Parada ] .

The Greeks hold given much to our modern universe through theater. Every histrion, of class, owes his or her support to the Greeks ‘ advanced thought. Many Greek dramas still exist today, continuing the civilization and traditions of their clip. The rudimentss of many modern machines come from the Aeorema, the Ekeclema, and the Periactoi, all machines created specifically for theatre productions. The Greeks have besides provided the basicss of theater. We still use phases, costumes, and makeup in moving today. We still have comedy, calamity, and sarcasm, although frequently combined, in present films, telecasting shows, and dramatic public presentations. Many theatres are modeled after Grecian amphitheatres, in order to accomplish their about unflawed acoustics.

No uncertainty exists, nevertheless, that Greek theater has affected our society in deeper ways as good. Since the beginning of history, narratives have been used to go through on values, such as unity, courage, and regard. Theatre continues today to convey life to these narratives, everlastingly forming itself into the heads and scrupless of its audience. Each individual can sympathize with and associate to the characters, deriving penetration to their ain predicaments and personalities. Theatre besides probes deep inside the bosom of humanity, for the histrions every bit good as the audience, as if through going another individual, you learn more about yourself. Without theater, civilization as we know it could non be. It has been changed for good through theater. A simple tradition of the Greeks has become a critical portion of our individuality as human existences.

“ Ancient Greek Theatre. “ A Ancient Greek Theatre. Sept. 2008. Web. 15 Oct. 2010. & lt ; hypertext transfer protocol: //www.greektheatre.gr/ & gt ; .

“ Amusing Costumes. “ A TheatreHistory.com. 2002. Web. 15 Oct. 2010. & lt ; hypertext transfer protocol: //www.theatrehistory.com/ancient/bates015.html & gt ; .

Englert, Walter. “ Grecian Theater. “ A Reed College. Web. 15 Oct. 2010. & lt ; hypertext transfer protocol: //academic.reed.edu/humanities/110tech/Theater.html & gt ; .

Barrow, Mandy. “ The Greek Theatre – Ancient Greece for Kids. “ Woodlands Junior School, Tonbridge, Kent UK. 14 Oct. 2010. Web. 15 Oct. 2010. & lt ; hypertext transfer protocol: //www.woodlands-junior.kent.sch.uk/Homework/greece/theatre.htm & gt ; .

Sandels, VEK, and George Synodinos. “ Thespis, Greece, Ancient History. “ Greece Travel History Mythology Greek Islands and Maps. 14 Apr. 2010. Web. 15 Oct. 2010. & lt ; hypertext transfer protocol: //www.in2greece.com/english/historymyth/history/ancient/thespis.htm & gt ; .

“ Grecian Masks and Their Rich History. ” Mask and More Masks Information for Collectors and Buyers. Web. 03 Nov. 2010. & lt ; hypertext transfer protocol: //www.mask-and-more-masks.com/greek-masks.html & gt ; .

“ History of Ancient Theatre. ” Tupelo Community Theatre. Web. 03 Nov. 2010. & lt ; hypertext transfer protocol: //www.tctwebstage.com/ancient.htm & gt ; .

Phillips, K. “ ANCIENT GREEK THEATRE. ” 29 Mar. 2000. Web. 03 Nov. 2010. & lt ; hypertext transfer protocol: //www.richeast.org/htwm/Greeks/theatre/Theatre.html & gt ;

Parada, Carlos. “ MUSES – Grecian Mythology Link. ” Entrance – Grecian Mythology Link. 1997. Web. 03 Nov. 2010. & lt ; hypertext transfer protocol: //www.maicar.com/GML/MUSES.html & gt ; .

Add a Comment

Your email address will not be published. Required fields are marked *