Creative Arts Greek Theatre Grade 9 Term 2 PDF

Dramatic Arts Greek Theatre Grade 9 – Term 2 First Name and Surname: ________________________________________________________ VERSION 1: JANUARY 2023 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 1 Introduction to Greek...

Dramatic Arts Greek Theatre Grade 9 – Term 2 First Name and Surname: ________________________________________________________ VERSION 1: JANUARY 2023 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 1 Introduction to Greek Theatre 1. Where did drama and theatre originate? We do not know the exact origins of theatre, but we do know that theatre developed from rituals. Religious rituals were held by early civilizations to worship the gods of nature and as time went by stories, which explain these rites, were developed. These stories, known as myths, continued to be told and supplied much material for drama. Rituals had a variety of functions: communication with the gods or ancestors, to ask for blessings, to show appreciation and to celebrate life. Rituals were accompanied by songs, dance, storytelling, poetry and exaggerated costumes. In ritual theatre, the audience actively participates. Over time, ritual enactments became highly skilled performances with a degree of realism, and people came to watch and thus it became more like performances. According to Aristotle (Greek philosopher), the essence of drama and theatre is simple: people have always enjoyed imitating other people and watching imitations. For the theatre to exist we need a community that is able to acknowledge the artistic importance of drama and theatre, and we need people who are able to arrange the theatrical components into an experience of a higher order. On these grounds, the Greeks must be thought of as the main inventors of the theatre since it was they who first identified its possibilities. Greek Mythology Ancient Greeks believed in many gods who ruled over every aspect of life and death. Myths and legends about these gods are well known and still entertain people today. Greek gods resemble humans in both form and feeling. Gods were considered immortal, and since they controlled everything in nature, the Greeks felt that their lives depended on the goodwill of the gods. They therefore honoured them at special times in various places. The Ancient Greeks had many stories to help them learn about their world. The gods featured heavily in these tales, and so did mythological monsters – like Cerberus, a three-headed dog that guarded the gates to the underworld; Medusa, a slithery sorcerer whose look could turn people to stone; and the Cyclops who had one eye in the middle of its forehead. The Ancient Greeks held many festivals in honour of their gods. 2 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. Click on the icon to watch a video on Greek Mythology The Origins of Drama Dionysus The origins of theatre can be traced back to Greece; it is here that the first clear evidence concerning the theatre and world’s first great drama exists. About 1300 B.C. in ancient Greece, people began to worship the god of wine and fertility, whom they called DIONYSUS (“twice born”). For many centuries, Greek drama was performed exclusively in connection with the festival held in his honour. CLICK Dionysus was the son of Zues and Semele (a mortal) and legend has it that Dionysus was killed, dismembered and then brought back to life. In his attempt to escape death he is said to have taken on the forms of a bull and a goat. Dionysus was an important god for his story was linked with the seasons and the life cycle: in the winter, everything in nature dies and decays, but in the spring and summer, everything comes back to life once again. He represented the human desire for reproduction (food, children, etc.) and keeping him happy (through worship), was of fundamental importance to the Greeks. His worshippers enacted his story and sacrificed a bull or a goat, ate the flesh and drank the blood in order to identify with him. The term ‘tragedy’ means ‘goat song’ a reference to the sacrificial goat that represents Dionysus. As time went on and people moved to more urban areas the rituals became more structured and formalised. The idea of storytelling or drama evolved from a choric hymn called a dithyramb. A dithyramb is a chronic hymn chanted or sung by a chorus of men in Ancient Greek rituals. At religious festivals, a dithyramb accompanied by mime or simple gestures, described the adventures of Dionysus. These hymns became extended to include dialogue. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 3 2. Festivals Throughout each year, the Greeks held a series of religious festivals honouring the gods. It was at these festivals that plays were performed. They were thus responsible for cultivating a tradition of ‘theatre’ as we know it today by scripting pieces that ‘actors’ would perform and essentially transforming drama from basic ritual to proper theatre. By the sixth century B.C. they had four festivals in honour of Dionysus alone: The Rural Dionysia (in December) – acknowledged Dionysus as the God of fertility. The Lenaia/Lenea (in January) – was devoted to merrymaking. The Anthesteria (end of February) The City of Great Dionysia (end of March) City Dionysia Held in Athens and the first record of formal drama in Greece comes from 534BCE, when the City Dionysia was reorganized and a competition for the best tragedy set up. Thespis won the first contest. The City Dionysia became the major festival for the presentation of drama. It was a six/seven-day event which the whole city of Athens attended. The festival day by day: DAY 1: The first day was dedicated to a major procession. DAY 2: There were dithyrambic contests. DAY 3: This day consisted of a competition for five comic playwrights. DAY 4,5,6: Dedicated to the plays of three tragic playwrights. DAY 7: Judging and awarding of prizes. Awards were given at the end of the festival: Best tragedy/comedy/production as well as best tragic actor. 4 Playwrights who wanted to enter the competitions had to submit their works to the officials in charge. Each playwright chosen was assigned an actor and a patron called a ‘choregus’. The patron was usually a wealthy person who paid for all the expenses of the production. The chorus was made up of ordinary citizens. The actors were paid by the state. Playwrights composed the plays in verse form, arranged the dances and trained the chorus. They also played the lead role. The festival was a combination of religion, ritual, art, civic duty, and philosophy, all coming together in one celebratory event. Awards were given at the end of the festival: Best tragedy/comedy/production as well as best tragic actor. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 3. Staging During the ancient Greek period major theatres known as amphitheatres were constructed. The theatre of Dionysus was built at the foot of the Acropolis in Athens and consisted of a hill and a flat surface for performing and this surface was known as the orchestra. Skene Orchestra The orchestra was the main performance area, and it was here that the chorus performed. There was an altar to Dionysus in the centre of the orchestra. It was an open-air event, and they had no artificial scenery, and the natural environment formed the backdrop to the play. This all changed sometime in the 5th and 4th century BCE where a basic stage house was built/erected. This building, called a skene, formed the background for the performance and it was a place where the actors could change and use as an exit and entrance. The basic shape of the theatre was well suited to the needs of the early performances but as time passed new elements were introduced to the plays and so the physical environment also became more sophisticated. The theatron or auditorium was made a more permanent structure. Orchestra was reduced in size. Retaining walls were added to channel water away. The parados, entrance paths or gates, were added at the end of rows of seating on either side. This focused attention on the entrance of the chorus or other actors. The skene was enlarged, and the sides were extended by the paraskenia and the proskenion. Later a second storey was added to the skene, it was called the episkenion. There were at least three doors form the skene and these doors were also used to display painted scenic panels called pinake. The pinake were hung between the pillars in the proskenion. Most deaths occur off stage and the bodies are displayed afterwards. It is believed that a large central doorway was opened and a wheeled platform was rolled forward to show the victims to the audience. The platform was called a ecyclema or exaustra, the platform could be rotated at an appropriate time to reveal something new. There was a need for gods to appear either from the roof of the skene or the floor of the orchestra. They used a cranelike device called a machina. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 5 Actors and Companies All the actors were men who played female roles as well. Leading actors specialised in certain roles and genres, such as comedy or tragedy, or in playing old men and warriors. Second and third level actors had to be able to play all sorts of different parts. Initially, actors were ordinary citizens, not professionals but in later centuries, acting became a profession and companies were formed. Every company had flute players who played for the choruses and for some solo scenes as well. After the play was performed actors often went on tour – they mainly travelled by foot or by ox cart and a tour can last as long as a year. Performance Style They had a non-realistic style of acting – a simple expressive acting style was used. The size of the auditorium influenced how the actors moved and the style of their stance and gestures. The posture of the actor had to be upright to facilitate communication. The actors had to project their voices, gestures and emotions powerfully through space. Gestures were full, extended and sustained, since small, quick movements would have been lost on such a huge audience. Gestures communicated emotional states and advanced the action, rather than indicating the personality of any one particular character. Masks Masks are extremely important in Greek theatre. Masks came from primitive rituals, during which the wearer assumed the attributes of the mask. It gave the wearer a certain spiritual power and seemed to have a strong impact on the audience. The masks connected the spiritual nature of a tragic performance with its dramatic form. The actor has to live up to the character that the mask portrays. 6 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. FUNCTION All actors in Greek tragedy wore masks made of linen, cork, or wood. Masks allowed one actor to play many roles. The masks created stylised emotional effects. They were larger than the actor’s face, covered the entire head, and depicted the whole face. A great variety of masks were used, and an actor sometimes changed masks according to his character’s change of mood or expression. Minor mood changes were achieved by the actor using his mask in conjunction with his body position, vocal expression, and gesture. The chorus all wore identical masks, except for the leader. Masks for comedies and satyr plays were more varied and exaggerated than those for tragedy. Onkos A headdress called the onkos was also worn. Some researchers believe these headdresses were quite high and exaggerated to balance the effect of the high soled boots believed to have been worn by actors. These headdresses helped to distinguish characters at a distance. The headdress also helped to convey the gender, age and status of the character. The onkos increased the actor’s visibility and also had an aesthetic function, working with the mask to define the character. Costumes Costumes in Greek theatre were colourful and decorative, reflecting the social status of the character. Colour was used symbolically, for example deep purple indicated royalty. The basic body garment was the chiton, a simple tunic pinned at the shoulder and worn knee-length or to the ankle. Over the chiton they wore a short cape called the chlamys, or a long cloak called the himation, which was draped over the right shoulder and one arm. These garments created a sense of dignity and authority. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 7 The tragic actor wore korthurni or lace-up boots peculiar to the stage. It is believed that the boots had high soles in order to make the actor more visible to the audience. In the comedies the costumes were grotesquely (strangely) padded. Comic male characters wore a short tunic and cloak with thick tights. The costumes were padded both back and front to make the actors look short and fat. Another convention in comic costume was the use of a phallus. The phallus was associated with the worship of Dionysus. It was a powerful symbol of fertility, standing for life and fruitfulness. 4. Playwrights 8 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 9 4. Genre Comedy It was only in 487 BCE that comedy became a regular feature of the City Dionysia festival, Comedy was considered inferior to tragedy. Comedy makes fun of humans for giving in to their materialism and petty instincts, while tragedy emphasises their attempt to rise above those instincts. Comedy celebrates human instincts, while also asking people to behave rationally. Comedies were concerned with everyday matters of politics and social events. Comedies written before 400 BC are referred to as Old Comedy – it is a mixture of fantasy, farce and poetry. Structure of comedy followed the general pattern of tragedy where in the prologue the central character explained the situation and his plan of action – a ‘happy idea’, which was usually so impractical it was doomed to lead to trouble. Chorus consisted of 24 members. They also sang and danced, and music was used to create comic effects. CLICK 10 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. COMEDIC ELEMENTS: Satire Makes fun of certain people or ideas (Stereotypes). Greeks often made fun of the Spartans, whom they stereotyped as they considered them inferior. Impersonation Often in Satire the actor will impersonate the person who is being attacked or mocked. Visual Humour Sometimes we laugh at what looks funny and this kind of humour does not rely on language or its effect (costumes and phalluses). Verbal Humour Greek plays made use of jokes, puns (a play on words) and funny lines to amuse the audience. There were also comic exchanges known as stichomythia – the quick backand-forth dialogue of comedians. Topical Illusions Reference to something that is in the news or is currently happening in our society. Taboo subjects Subjects that are not always acceptable as topics of discussion – like sex and religion. (Lysistrata). Situation Comedy (sitcom) People who act strange because of the situation they face. We laugh at people who cannot cope with their problems. Parody This form of satire imitates the style of another writer. Satyr play Satyrs were woodland creatures, half-man, half-beast, in Greek legends. Satyr plays were comic in tone and used a chorus of satyrs. Purely for entertainment. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 11 Tragedy Aristotle said that tragedy has six aspects or dramatic elements that determine its quality: Character Plot Diction Song Thought Spectacle Plot He regarded plot or the acting out of incidents as the most important element, because tragedy for him was a representation of action and of life. Reversals, recognition and discovery are important aspects of plot, as they affect the feelings of the audience and allow for the development of a complex plot. Character Characters are also important, but they are included for the sake of the action. Aristotle said that the action in a tragedy should awaken fear and pity at the underserved misfortune of some person. The fall of this person should not be because he/she is wicked, but because of having made some error, sometimes as a result a flaw in his/her character. Thought For the Greek audience, watching the play was a religious experience in which they were deeply involved. The catharsis at the end was then one of exhilaration, as well as exhaustion. Catharsis is the release or outlet of emotion caused by a drama. The message in most Greek plays is clear – people should live honourably and follow the instructions of the gods – if you don’t you will be punished. 12 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. TRAGIC ELEMENTS: The Tragic Hero Greek Tragedies always have a central character around whom the story revolves – this character is known as the ‘tragic hero’. He often knows that he will suffer for his actions, yet he chooses to act that way regardless of the consequences – in some way the hero contributes to his own downfall. This ‘dramatic irony’ is heightened if the audience and not the character is aware of the outcome. They suffer from some error or flaw in their character which Aristotle called hamartia. His acts of self-assertion generally come from his sense of pride in himself and his achievements – Greeks called this pride ‘hubris’. CLICK Structure of Tragic plays 1. The play began with a prologos, a short scene or monologue that establishes the dramatic situation. 2. This was followed by the parodos, the entrance of the chorus, which continued with the exposition (explanation) of the plot. 3. The main sections of the play followed and were presented through alternating acts (epeisoda) and commentaries by the chorus (stasima). 4. The climax of the play came before the last stasimon, which allowed the chorus to comment on the final resolution of the drama. 5. The conclusion of the play, the exodus, allowed for a summary and the exit of the chorus. The Chorus The chorus performs a variety of functions: It voices opinions and gives advice. It sympathises and forms an alliance with the protagonist or main character. It sets up the ethical framework of the play. It communicates the author’s views. It establishes the standard against which the actions of the characters can be judged. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 13 It responds to the characters and situations on stage. It sets the overall mood of the play. It heightens the dramatic effects. It provides colour, movement, song and spectacle. It supplies rhythm. The Messenger Speech Since the plays were performed as part of a religious festival, it was thought that any violent act or murder could not be shown – it would be a pollution of sacred ground. The events that could not be shown had to be conveyed by a messenger. These speeches are often the most descriptive and emotional moments of the play. Acknowledgement 1. Adhikari, S., & Petalas, K. (2022, August 30). Top 10 famous clothes in Ancient Greece. Ancient History Lists. Retrieved February 4, 2023, from https://www.ancienthistorylists.com/greek-history/top-10-famous-clothes-ancient-greece/ 2. Ciro, J. (2015). Via Afrika dramatic arts. Grade 10, Learner’s book. Cape Town: Via Afrika. Pg 58 – 59 3. crashcourse. (2018, March 2). Greek comedy, satyrs, and Aristophanes: Crash course theater #4. YouTube. Retrieved February 4, 2023, from https://www.youtube.com/watch?v=xLKUXI0enbg 4. crashcourse. (2018, February 23). Tragedy lessons from Aristotle: Crash course theater #3. YouTube. Retrieved February 4, 2023, from https://www.youtube.com/watch?v=nGlQkaoIfBI&t=1s 5. ntdiscovertheatre. (2013, March 27). An introduction to Greek comedy and Satyr Drama. YouTube. Retrieved February 4, 2023, from https://www.youtube.com/watch?v=HBvMbfkxcc 6. Main concept for greek chorus: Greek tragedy, Greek Chorus, ancient greek theatre. Pinterest. (2015, December 2). Retrieved February 4, 2023, from https://za.pinterest.com/pin/469781804860100647/ 7. Maurice. (2021, May 11). The tragic hero: Why you love the misfortune. Noblecopy. Retrieved February 4, 2023, from https://www.noblecopy.com/tragic-hero/ 8. Theatre 1: Greek Theater Basics diagram | Quizlet. (n.d.). Retrieved February 4, 2023, from https://quizlet.com/444210569/theatre-1-greek-theater-basics-diagram/ 9. Images, G. (2021, March 24). The Cathartic Technology of greek tragedy. The Wall Street Journal. Retrieved February 4, 2023, from https://www.wsj.com/articles/the-cathartictechnology-of-greek-tragedy-11616601743 14 © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. © Material designed by Curro Digital Learning. No part of it can be used without the express written permission of the author. 15