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February 27, 2017 INSTRUCTIONS: Set up several pages for Cornell Notes on Greek Theater. STAR WARS DEBATE MAKE-UP / REDO Wednesday, March 1 2:10 – Room C122 (Ms. Guffey’s) Princess Leia v. Han Solo Come Prepared To Join Either Side The Greek Theatre Introduction to Antigone By Ms. Guffey You will learn about: • The Greek theatre within the culture • The architecture of the Greek theatre • The Greek performance elements • Types of Greek plays • Greek Playwrights Your group work this week (Unit Guess Goal 1) what will might be to implement show up onthis this information week’s whilequiz… preparing for “Antigone.” Greek Theatre in the Culture • 6th century B.C. = Earliest evidence of Greek theatre • Started as ceremonies dedicated to Dionysus • Greek god of wine, festivities, theatre, and other things • Men dressed up as satyrs (man w/ horse’s tail and ears = lustful) and chanted songs • Processions, songs, recitations, rituals and sacrifices • Other various activities too “R” rated to mention Theatre was so important to the Greeks that: • The government paid the poor to attend • The government released prisoners from prison in order to also attend The Architecture of the Greek Theatre • Greek theatre=theatron • Large, open-air structures • Built on the sides of hills and slopes • The audience: open seating with benches that radiated up the hillside. • Accommodated a large number of people in the orchestra (50+) and in the audience (up to 40,000). The Architecture of the Greek Theatre • The orchestra: a large semi-circular area at the center of the theatron. • This where the dancing, religious rites or acting took place. • This is where the chorus performed. The Architecture of the Greek Theatre • proskenion : a long shallow area at the back part of the orchestra. • This the part of the orchestra that the acting took place on. • The proskenion eventually became known as the proscenium—most notably in theatre, it is the proscenium arch that frames the stage of tradition theatres. The Architecture of the Greek Theatre • The skene: a large building situated behind the orchestra. • It was used as a backstage where actors could change masks and costumes. • Sometimes it was painted like a backdrop to provide a sense of place. The Architecture of the Greek Theatre • The parodos (plural is parodoi), is a side-entrance where the chorus would enter from the side wings of the theatron. • Sometimes it referred to the first song sung by the chorus after its entrance from the side wings. The Greek performance elements • Dithyramb: a celebration dedicated to the Greek god Dionysus where a chorus of men— usually about 50 men, sang organized stories. The Greek performance elements • Thespis of Athens: • The first man noted to have stepped away from the chorus and to present a story by himself with the chorus backing him up. • In 534 B.C. Thespis received an award for his acting skills—the first to do so. • “Thespian” is a synonym for “actor.” We get the word from the name of Thespis of Athens. The Greek performance elements • The early Greek Theatre kept plays simple • No scene changes • No complicated subplots • One setting in One day. • Plays were spoken or sung in rhyme. • Violence took place off stage • messengers came in to describe what happened. The Greek performance elements Chorus: in Greek it was Khoros • The chorus would move, sing, and speak together during a play. • • • • set the mood summarized the action represented a point of view sided with characters, or warned of disaster. • As the chorus became smaller (10-15 men) they sat in the orchestra to perform. Choral Odes: took place between scenes. They were songs or group recitations that help indicate the direction that the play was taking, or gave incites. The Greek performance elements The Chorus • Represented the populace and city elders • Provided backgrounds and summaries • Provided communal opinion meant to reflect the audience’s opinion • Provided commentary on action • Provided “back up vocals”: repeats dialogue • Interacted directly with the characters through chorus leader • Allows for entrances and exits • Marks the passage of time Example Chorus 3 1 2 The Greek performance elements Actors: • Eventually the acceptable number of actors performing outside of the chorus became three. • The actors were always men—men played female roles. • The Greek word for “actor” is “hypocrite.” • Because they had to play to large crowds who were far away, the actors used large, bold, exaggerated movements with hopes that all the audience members might see them. • They also wore tall platform shoes in order to appear taller, larger. The Greek performance elements Masks: • The actors wore large masks because: • The size and distinctive features of the masks made the character recognizable from a distance. • Wearing masks made it easier for three actors to more than one part. • Masks enable all-male casts to play both male and female parts. • Evidence suggests the masks either had mouthpieces that acted like megaphones, or had actual megaphones in the mouthpiece. • This would assist in projecting their voices out over the audience to the cheap seats in the far corners. • Most significantly, the masks transformed an ordinary man into something beyond his real identity. The Greek performance elements • Because of their delicate construction, no examples of actual masks used during ancient Greece survived. We know what they looked like by looking at other artifacts from that time—such as pottery, wall decorations and mosaic floors. Types of Greek plays There were three basic types of plays in ancient Greece: 1. Satyr 2. Comedy 3. Tragedy Types of Greek Plays and Playwrights Satyr plays: these were shows of general naughtiness, and were part of those early festivals celebrating Dionysus. • They involved: • • • • • Mock drunkenness Pranks and sight gags Burlesque Phalluses General merriment • The general idea of the Satyr play was to liven up the crowd. Make them laugh. Types of Greek Plays and Playwrights Greek Comedies: The comedies had the tendency to be about current, everyday life. • Actors wore bright colors to signify the brightness of the mood. • The Greek philosopher Aristotle wrote that comedy is a representation of laughable people and involves some kind of blunder or ugliness which does not cause pain or disaster. Types of Greek Plays and Playwrights Aristophanes Born in 446 B.C • He is considered the Father of Comedy and the Prince of Ancient Comedy. • He wrote what is called “Old Comedy”: Plays heavy in political satire and sexual innuendo • In Old Comedy the masks were often caricatures of real people • He made fun of the most important personalities and institutions of his day • He recreated the life of ancient Athens more convincingly than any other author • His powers of ridicule were feared and acknowledged by influential contemporaries • Of his 40 plays 11 survive in almost complete condition • All that we know of his personal life comes from the introduction written for his plays at the time of their creation Types of Greek Plays and Playwrights Greek Tragedies: The tragedies were often about the past. • Actors often wore dark colors to signify the somber spirit of the play. • In tragedy, the masks identified archetypal (stereotypical) characters • The tragedies served as a catharsis (an emotional cleansing). • The audience would view three tragedies (a trilogy) in one day—from sunrise to sunset— and then watch a satyr play to help lift their spirits back up. Types of Greek Plays and Playwrights The structure of a tragedy most often included • A “prologue”—an introduction speech that introduced the main character or characters. • The play, which would unfold through 3 or more episodes • Between the scenes the chorus would step in, and explain or comment on the situation developing in the play.(choral odes) • The play would end with the “exodus” (final scene or departure) Types of Greek Plays and Playwrights • The three most influential tragedian playwrights of ancient Greece were Aeschylus, Sophocles and Euripides Types of Greek Plays and Playwrights Aeschylus: (Born around 525-524 BC) • He wrote 70-90 plays, only 7 survived • He is often described as the father of tragedy • He establish the basic rules of tragic drama • He is credited with inventing the trilogy, a series of three tragedies that tell one long story • He introduced using a second actor, making the dramatization of a conflict possible • It is said that because of losing a play competition to a young new playwright named Sophocles, Aeschylus retired to Sicily. Types of Greek Plays and Playwrights Sophocles: (Born in 496 BC—lived for 90 years) • Sophocles wrote 120 plays—only seven remain • Won his first play competition when he was 28 • Awarded first prize about 20 times, and second prize all other times • He introduced a third actor • He introduced background scenery • He introduce the concept of breaking down the plays into scenes instead of episodes • He increased the number of chorus members to fifteen • He made the chorus less important in explaining the plot and more involved in creating character development and conflict. • He wrote the “Oedipus Rex” trilogy which ends with the story of “Antigone” Types of Greek Plays and Playwrights Euripides: (Born in 480 BC) • Wrote 92-95 plays—of which 18-19 have survived • He increased attention on revealing feelings, as a way to present the tragic events • He portrayed his characters' psychological make-up • His heroes were not the resolute characters, but often an insecure person, troubled by internal conflict • He turned the prologue into a monologue informing the spectators of the story's background • He introduced the idea of “god in the machine”— unexpected plot twists that created unpredicted circumstances • He diminished the choir's prominence even more so. • He uses female protagonists of the plays to portray the tormented sensitivity and irrational impulses that collide with the world of reason Oedipus Rex Trilogy • Written by Sophocles • Oedipus Rex (The King) • Oedipus at Colonus • Antigone Oedipus Rex Trilogy: Important Characters Oedipus: King of Thebes. Intelligent. Solver of riddles. Jocasta: Oedipus’s wife … Creon’s sister. Antigone: Daughter of Oedipus & Jocasta. Self righteous. Creon: King of Thebes after Oedipus. Authoritarian. Polynices: Antigone’s brother. Son of Oedipus & Jocasta. Eteocles: Antigone’s brother. Son of Oedipus & Jocasta. Haemon: Creon’s son. In love with Antigone. Ismene: Antigone’s overshadowed sister. Daughter of Oe__ & Jo__. Euridice: Creon’s wife. Theseus: King of Athens (Oedipus at Colonus) Chorus: Acts as the public of Thebes. Summary of Notes: Respond to the prompts, using complete sentences. Be prepared to share your thoughts. 1. What did you learn that you didn’t know already? How does it shape your understanding of the topic? 2. What was the most interesting thing that you learned? What made it interesting? 3. What is something you are struggling to comprehend? How can you ask a question that would help you clarify this? 4. In what ways do you now understand our current culture more thoroughly? How might this understanding change your view of our current culture? Unit Goal 1, Support Activity: Mini Theban Plays Each group will receive a summary of a chapter of the Oedipus Trilogy that covers the events of Oedipus Rex and Oedipus at Colonus, leading up to Antigone. Your job is to create an abbreviated version of that chapter and perform it for the class. These performances will provide the information that your classmates need when we start Antigone. Each mini play will need to effectively use all of the elements on the right. 4 The group’s cohesion and collaboration lead to immersive involvement by all members, who showed substantial understanding of the knowledge and goals. Choral Ode See slide 13 Chorus See slides 13—14 Actors See slides 15—16 Lines See slides 12—15 Action See slides 12, 15, 16 Masks See slides 16—17 Space Used Effectively See slides 5—9 3 The group has shown cohesiveness through collaboration, leading to a completion of the goals with acceptable understanding. 2 The group struggled to work together collaboratively, leading to partial completion of the goals and some misunderstandings. 1 The group did not work together collaboratively, leading to incomplete or disjointed work that struggles to support the goals and shows significant misunderstanding.