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55 Cards in this Set
- Front
- Back
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tragedy (trans.)
Greek |
"goat song"
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tragedy (def.)
Greek |
At first dithyrambic choruses to honor Dionysus, became plays through Thespis (first actor), Aeschylus (second actor), and Sophocles (third actor) c. 550-468 BCE
Guidelines outlined in Aristotle's Poetics |
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drama (trans.)
Greek |
do/act
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hypocrite (def. and trans.)
Greek |
"from under the mask", actor
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mimesis
Greek |
Aristotle's Poetics, imitating in a pleasing way
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ritual
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symbolic actions
precise patterns "magical" effect can change over time |
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ceremony
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meant to sanction a speech-act
display of power could incorporate ritual |
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theatre (as opposed to ritual and ceremony)
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rehearsed
dedicated crafters entertainment purposes audience chooses to attend |
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Dionysus
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Greek import from Asia Minor
God of wine, and by extension, debauchery Accompanied by satyrs and maenads Died and was reborn in the spring Greek theatrical competitions dedicated to him |
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theatron (trans.)
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"witnessing place" - i.e. spectators called on to be part of the proceedings, speech-act, connection to ritual and ceremony
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Abydos Passion Play
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about suffering, death, and resurrection
Egypt 2055 BCE Characters: Osiris, Isis, Horus, Set Christianity probably borrowed from it 1850 BCE Ikhermofert wrote script on stele 440 BCE Herodotus (Greek) saw and wrote about ran for centuries pharoah's family starred - show of power involved hundreds of people - hence script use of "passion play" alters perception - Diana Taylor |
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Scenes of Cognition: Performance and Conquest
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Diana Taylor
viewers impose their own "lens" on theatre described Mayan theatre sacrifice as debt payment to the gods praxis vs. episteme challenging thought through theatre scripts can bypass performance leads to fetishism - "uncorrupted" by performance history and culture transmitted |
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praxis
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way of doing something
how we know customs, but also why they are customs example: class using Stanislavski |
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episteme
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knowledge
what we know |
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Rabinal Achi
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Quiche Maya
Lord Five Thunder and Cawek fight for a larger kingdom Achi, played by prince Europeans forced change in ritual - converted Change from myth drama to history drama as story of conquest incorporated |
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liminal
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threshold, border
point of change where one thing becomes another danger/fear of unknown example: rehearsal space |
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tragedy competitions
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534 BCE
3 tragedies, 1 satyr play surrounded by temples and other entertainment |
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choregos
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wealthy citizen who paid for and organized Greek theatre competitions
usually a merchant led the chorus |
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Greek theatre building
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theatron - where people sat
parados - passageways skene - backstage altar - in orchestra orchestra - where chorus occasionally went |
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mechane
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consists of logeion (platform) and pulley system, used in Medea
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How big was the Greek audience?
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300k
Adult male 30-40k Foreigners 30k Slaves 100k Women and children 100k |
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Aeschylus
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525-456 BCE
added 2nd actor Oresteia |
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Thespis of Icaria
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600 BCE
first character not a playwright - actor |
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Sophocles
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3rd actor
Oedipus most wins at play competitions |
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Euripides
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most recent Greek playwright
only existing satyr play - Cyclops Muslim literacy saved plays reshaped formal structure |
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Aristotle
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384 BCE
wrote Poetics |
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hamartia
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"miss the mark"
not reading the signs correctly not technically a tragic flaw |
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hubris
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"swollen" - excess of pride or other trait
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oedipus (trans.)
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swollen foot
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Poetics
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unpolished lecture notes
oldest treatise on theatre not highly studied in its day written long after tragedy became unpopular discovered 1498 in Latin - fueled neoclassicism and Renaissance describes ideal, not actuality katharsis over-emphasized |
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Differences between Aristotle and Plato
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A - positive towards drama, source of learning and pleasure, believed possible to imitate things that don't exist
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Poetics summary
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admirable, complete, magnitude
1st person heightened direct discourse pity and fear emotional NOT social change complete plot Ideal - new knowledge causes a reversal of fortune with the recognition of the truth |
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How does Oedipus follow the Poetics in:
Admirable Complete Heightened language Pity and fear |
Admirable - keep kingdom together
Complete - includes actions and endings Heightened language - translated, can't really tell Pity, fear - yes |
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Lysistrata summary
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Lysistrata persuades all the women in Athens to swear off sex until the men swear off warring. They do, reluctantly. Older women, not able to tease, hold the Acropolis hostage. Men siege the Acropolis while trying to get their wives to have sex with them again. Finally, men agree to stop the war. Power is returned to them.
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lysistrata (trans.)
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disband the army
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Lysistrata
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Aristophanes
411 BCE sex as economic transaction water vs. fire |
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Seneca
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4 BCE - 65 CE
defined comedy ludicrous and imperfect individual vs. norms Stoic - emotions bad influenced Renaissance theatre closet dramas (meant to be read by elite) showed violence and horror to prove emotions bad |
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Old comedy
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went until end of Peloponnesian War
political satire frequent sex jokes only Aristophanes left |
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Middle comedy
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transgressions heavily punished
Socrates executed few political jokes focus on daily life |
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New comedy
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Menander, Plautus, Terence
sitcom-ey move to Rome |
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Plautus
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254-184 BCE
copied Greek New comedy - fabula atella spoofed pietas and gravitas (respect and dignity) popular less erudite commercial used stock characters |
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Terence
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195-159 BCE
favored double plots w/foil sex intrigues Greek farce - fabula palliata educated slave from N. Africa plots carefully constructed entertained aristocracy favored the aside - intimate theatre buildings |
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The Brothers
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context-dependent comedy
cyclical nature vs. nurture argues for balance in a Stoic way court was important to Romans - higher authority |
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Livius Andronicus
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1st Roman dramatist
slave produced plays Greek adaptations |
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Ludi Romani
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celebrated military victories, funerals (like Brothers)
chariots, boxing, mimes, gladiators, stage shows popular for centuries 600 BCE - ??? first Roman staged performances |
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Roman play themes
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domestic love stories, father/son conflicts, legal battles, supernatural
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Differences between Roman and Greek stages
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R - added auleum (curtain), vomitoriums (entrances), asides, wooden temporary stages
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How did Roman theatre end?
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Constantine converted to Christianity, shunned theatre, already declining
100 BCE - 312 CE |
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Gladiator events
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20-30k people
gladiators - slaves or enemies naumachia - staged sea battles Circus maximus - chariot races |
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Theatre of Pompey
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ded. to Venus
first perm. Roman theatre used mainly for political speeches smaller orchestra - secular 55 BCE seated 20k people didn't want plays |
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Ars Poetica
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Horace (65-8 BCE)
19 BCE "rules" trans. Ben Johnson |
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Ars Poetica (summary)
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reflection of what exists
attempt to distinguish theatre from spectacle consistent characters package original, not ideas 5 acts, 3 unities, 1 plot no staged violence - dangerous to mind stage whatever possible no more than 3 speakers at a time no deus ex machina plausible to class structure did not differentiate trag. and com. profit or delight |
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wayang kulit (trans.)
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spirit/shadow/ghost + leather/skin
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dalang
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puppet master
50-100 puppets own chanting/dialogue |
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Wayang Kulit
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good vs. evil - Mahabharata and Ramayana
Southeast Asia symbolic, presentational good guy on right, bad guy on left evil not truly evil - worthy opponent |
