Download Lysistrata Study Guide

Lysistrata
Study Guide
©2008 City Lights Theater Company of San Jose
City Lights Theatre Company Presents
Lysistrata
Written by Aristophanes
Adapted and Directed by Will Huddleston
March 20th – April 20th, 2008
I. The Play
A. Synopsis
Lysistrata tells the tale of a group of Greek and Trojan women who attempt to
end the Peloponnesian War through unconventional means. Lysistrata, a Greek
woman, convinces her friends (as well as women from neighboring countries) to
withhold sex from their husbands until a treaty is established. The women take an oath
to abstain from sex for the duration, although keeping their word proves difficult for
some. The situation is pushed to its comic limit, until a truce is finally settled between
the warring factions.
B. Setting & Characters
Setting
The gates at the top of the great rock, the Akropolis in
Greece, which is behind the Temple of Athena. The
Peloponnesian War took place between 431-404 BC.
Characters
Lysistrata
The leader of the Greek women who comes up with the idea to ransom
sex for a peace treaty.
Kleonike
Lysistrata’s friend who takes part in Lysistrata’s plan despite her great
desire for sex and numerous references to it.
Myrrhene
Another Greek woman who loves sex.
Lampito
A Spartan princess.
Ismenia
A Spartan woman.
Socrates
The leader of the Greek men who, along with the Chorus of Men, try to
convince the women to give up their sex strike.
Kinesias
Myrrhene’s husband and a Greek solider.
Xantippe
The leader of the woman’s chorus.
Homer
A poet, who laments on what is happening. The historical Homer.
Kleisthenes A Greek man who also is bitter in regards to the sex strike.
Spartan Envoy A messenger from Sparta, bringing news to both sides of the conflict.
Spartan Herald A herald from Sparta.
Dawn
A younger Greek woman, who also partakes in the sex strike.
Magistrate
A Greek magistrate, who is loud and burly, has a soft spot for the
women of Greece.
Choragus
The chorus of men who lament the sex strike the women are putting
them through
Chorus
The chorus of women who partake in the sex strike.
C. About the Playwright
Aristophanes (456 – 386 BC) was a comic Greek dramatist
who is held to be one of the first great comic writers. Aristophanes
was in his forties when he achieved major success as a playwright.
In total he has wrote forty plays, of which only eleven have
survived. Many of Aristophanes’ plays had political implications
and made fun of prominent citizens and their connection to the
Peloponnesian War. In the Theater of Dionysus his play The Frogs
was the first to receive a second public performance.
Aristophanes first emerged in the Athenian theatrical community as a judge in a
literature contest, where his opinions greatly differed from the other judges.
Aristophanes believed that the poet who least pleased the audience was the only true
poet and that the others were simply reciting. Aristophanes made fun of the popular
philosopher Socrates not only in Lysistrata, but also more prominently in The Clouds,
although the play was a disaster and not well received. Aristophanes paints Socrates as
a buffoon, and ridicules the common people who adored him, which did not make
Aristophanes popular.
Aristophanes’ surviving plays include: The Clouds (423 BC), Peace (421 BC),
Lysistrata (411 BC), and The Frogs (405 BC). Nathan Lane wrote an adaptation of The
Frogs and starred in it, alongside by Roger Bart, at Lincoln Center in 2004.
Will Huddleston (Adaptor/ Director) is an actor, director and playwright whose
experience includes work with five different Shakespeare festivals, including six years
with the Oregon Shakespeare Festival. Directing credits at City Lights include A
Christmas Twist and The Nerd. Currently, Mr. Huddleston is Resident Director with the
California Theatre Center, and has served as artistic director of the VITA Shakespeare
Festival and worked as an actor and director for the California Actor's Theatre, the San
Jose Repertory Company, the Magic Theatre and other companies His plays include
adaptations of Aristophanes’ The Birds, Kipling's The Jungle Book, and Baum's The
Wizard of Oz. His original plays include The Adventures of Persus, A New Age Is
Dawning, and The Raven’s Tale, which have been produced at theatres across the
country including the Seattle Children's Theatre, Honolulu Theatre for Youth, Alaska
Youth Theatre, and South Coast Repertory.
D. Historical Context
Lysistrata was first performed at either the Dionysian Festival, or a festival similar
to it. The comic piece, filled with double meanings and bawdiness throughout, is an antiwar play. It plays on an apparent lack of knowledge about women, for in the fantasy of
the play it is the women who stop the war. While many of Aristophanes contemporaries
may have seen this as merely a comic idea, Aristophanes applies his own politics and
beliefs into the work.
The Peloponnesian War (431-404 BC) was a war in Ancient Greece between
Athens and its empire versus the Peloponnesian League, predominately Sparta. The
war began due to Sparta’s resistance to Athenian expansion, which had been
happening in force for nearly fifty years and had resulted in a vast Greek empire. The
conflict truly started when Athens dislodged the Persians from Greece.
The first part of the war, known as the Archidamian War, included several attacks
on Athens by Sparta, although the Athenians countered with a force of naval
supremacy. The Peace of Nicias followed in 421 BC, but was not to last for long. In 415
BC Athens attacked Syracuse in Sicily, Italy. The Sicilian expedition (which is
mentioned in Lysistrata) was a devastating defeat for Athens, which lost its entire force
by the time it ended in 413 BC.
The final phase of war, known as
the Decelean War, saw an
alliance between Persia and
Sparta against Athens. This
opponent proved too great for the
Athenian forces, who surrendered
the following year.
The Peloponnesian War
reshaped the ancient world and
Greece in particular. Athens, who
had for many years been the
dominant power in Greece, was
now the subject of Sparta, and the
Mediterranean area experienced a
major shift in power.
E. Production History
City Lights’ production of Lysistrata performed from March 20th – April 20th, 2008. It was
adapted and directed by Will Huddleston, with scenery designed by Ron Gasparinetti,
and costumes designed by Jane Lambert. Performing in it were:
Patrick Bridges……………..Spartan Herald
Diahanna Davidson……………….Lysistrata
Lucinda Dobinson………………….Ismenia
Thomas Gorrebeeck……………………..Kinesias
Tom Gough……………………Magistrate
Beverly Griffith……………………..Kleonike
David Hamilton…………………….Spartan Envoy
Nina Harada………………………Dawn
Kimberly Johnson…………………Myrrhene
Heidi Kobara……………….Lampito/Peace
Daniel Norberg……………………..Kleisthenes
Raegena Raymond………………….Corinthian Woman
Shannon Stowe…………………Xantippe
Ron Talbot………………….Socrates
Molly Thornton………………..Chorus
II. The Production
A. Style and Concept
Costume Designer Jane Lambert shares her thoughts on the production.
1. What are your inspirations for the design? Besides the script and directors ideas,
where do you find the inspiration?
Greek Pottery of the period. It is really the best place to find out what Greeks actually
wore. Statues are helpful, but the figures on the pottery are more animated.
2. How do the designs add to the overall comic feel of the show? Do they?
It isn't so much the costumes as it is the "costume props" that add to the humor. The
large phalli under the costumes are sure to get a laugh.
3. What is the hardest part about designing for a large show?
I know this is not a very artistic reply, but the hardest thing is making the budget cover
the number of costumes without looking like you had to stretch the budget.
4. "Lysistrata" is a classic comic piece that has been around for thousands of years. Is
there something new you can contribute in the design that will make this piece seem
fresh?
I don't think the design needs to make the piece seem fresh. I think that is what makes
this a masterpiece of the theatre. It remains fresh without our help. As long as we fight
wars this will be a fresh piece.
B. The Actors At Work
1) What are some of the ways in which you are like your character? How are you
different? What must you do, as an actor, to bridge the gap between these differences?
Molly Carter (Chorus): Strong willed. Feeling I have the answers and wanting to
communicate that, and influence others to see things the way I do.
Nina Harada (Chorus, Dawn): I am similar to Dawn in the sense that we are both young.
I often find myself the youngest in social circles and attempting to keep my own. I also
can have a temper, particularly, and probably only, with loved ones. I will be quicker to
yell at my boyfriend or mother than I would a friend. Even if the friend actually angered
me more, I would most likely suppress that anger.
We are different because I am not as outgoing as Dawn. I would never feel
comfortable with the sudden responsibility of entertaining a whole crowd, do it, and then
actually enjoy doing it. I am also not as naive as Dawn. However, if there was
something I wasn't knowledgeable about, I wouldn't feel comfortable pretending that I
did know about it.
As an actor, bridging the differences is simply a matter of staying true to the characters
wants and intentions. If Dawn wants to prove to the audience that she is smart and can
keep up with her elders, than she is going to go to any lengths to do so, even if it means
risking sounding dumb. Though I might not take that risk, I understand Dawn would and,
hopefully, show that through my acting.
Tom Gough (Magistrate): Well the character is big and loud, something I'm prone to
from time to time. Oh, and he finds pretty girls attractive. I don't have a military
background, nor do I advocate military confrontation unless absolutely necessary. That
being said the Magistrate does have some internal qualities of pride and a sense duty
and protection to those who sacrifice for him very familiar to me. For this role, I'm trying
to find a suitable "model" person to base my characterization from.
Shannon Stowe (Xantippe): I am greatly enjoying working on Xantippe (the leader of the
women’s chorus (the koruphaios) from a movement standpoint. As a dancer and
choreographer, movement and physical expression of emotion very important. The
same kind of work is required of the chorus in Greek drama. That element of Xantippe
and I are very much alike. Xantippe differs from me in that there is a sense of strength
and wisdom that – at times – seem to come from age and great depth of life experience,
which I have not yet had. At the same time – there is agelessness about her as she
transforms becoming whatever is required of the chorus at that time – ranging from old
woman to a young and flirtatious dancer. Finding and working these transitions is still
very much a work in progress at this point.
Kim Johnson (Myrrhene): Like Myrrhene, I am a wide-eyed girl in love. Although I’m not
married with child, I really identify with Myrrhene struggle. Do I do what feels better or
what is ultimately right? Myrrhene likes pleasing her husband and loves her child, but
finds she has a greater responsibility to her country and herself. Banding with these
women really helps her to find herself and listen to her own needs. Myrrhene tends not
to think about the things that come out of her mouth, which is very different than how I
normally talk. It’s been a challenge, and lots of fun, to find ways to reflect Myrrhene’s
way of thinking
David Hamilton (Homer): Homer is a poet, bard, and general man of words. As an
amateur writer and performer myself, I feel that I can relate and connect to Homer's love
of words and language. Aside from the obvious differences of age and blindness,
Homer was an accomplished bard and a respected writer and poet of his day. As such I
feel that he exudes self-confidence in his art that I lack as an amateur. As an actor, I
feel that I must project as much self-confidence as I can into Homer's orations and
demeanor.
Lucinda Dobinson (Chorus, Ismenia): As I am the position of playing multiple
characters, I believe it is imperative to find the connection between myself and each
persona brought forth on stage. For example, as an old woman of the chorus, I search
for what in her plight I may associate with. Not being terribly old myself, I draw a
connection from the frustration we can both feasibly feel with regards to the constant
loss of our loved ones and a lifetime of flippant, dismissive mindsets of the male figures
in our lives. It helps me justify the fight and why older women would care and not just
leave the fighting to the young ones.
It is my personal belief that there can be no differences between actor and character,
insofar as we are all born of humanity and individually possess the capacity for infinite
potentiality. In other words, it is within all of us to be any of us. It is what makes the
theater-going experience so engaging; we recognize a piece of ourselves on stage.
Beverly Griffith (Kleonike): I love Kleonike’s character; she seems to be the comic relief
when things start to get a little tense. We share that similarity. I have a “sense of the
ridiculous” and can see the funny side of most situations and make an effort to try and
get others to lighten up. We are fervently devoted to friends and she and I also revel in
luxury and all that it offers. Kleonike is openly sexually and sex is constantly on her
mind. This is where we are different. I prefer to keep my thoughts private. I love this
difference though because as an actor I am able to come out of myself and be openly
sexual without trepidation. That’s acting….being able to participate in the fantasy!!
2) How do you bring freshness to a piece that has been performed for over thousands
of years?
Molly Carter (Chorus): It is timeless. People and human nature have not changed over
the years. This is as relevant now as it was then. Plus the script has been updated with
some modern language, so that helps.
Nina Harada (Chorus, Dawn): I think it helps to not think of it as a piece that is over
thousands of years old. I believe that at the core of any story, whether it is a thousand
or a year old, are universal truths and human emotions. Though we may be speaking in
heightened language, I think it's important to translate it into modern terms (which in this
case, most of the work has been done as it is an adaptation). It is also important to
throw out any preconceived notions of the production. Though I am familiar with the
story, I actually have never seen a production of Lysistrata, so I don't have any ideas of
how certain scenes are "normally" done.
Tom Gough (Magistrate): In this instance, the fact that it is a fresh adaptation--emphasis
on FRESH--is really all the impetus needed to look at it from a FRESH perspective.
Plus it's anti-war message is one we can only hope will some day lose its relevance.
And as long as mammals inhabit the planet, sex drive, as a topic will always find an
audience of universal connection.
Shannon Stowe (Xantippe): I think one of the problems of Lysistrata as a play (not this
one, but in general) has been that people often attempt to do too much to bring
freshness to it – connecting it VERY specifically with a certain war or people. I think
having a newly written, for City Lights only; adaptation allows us to approach it anew –
with new language. I feel like we are looking at the human condition in this play as well
as the subject of war and sex. Finding the humanity at the heart of this play by being
the first ensemble to create these characters in THIS WORK brings some fresh
perspective.
Kim Johnson (Myrrhene): I think the most important thing is to focus on the emotionality
of the story being told. Ancient Greece was a much different time, but what the Greeks
were feeling (frustration, loneliness, lust, anger) are things we feel every day in 2008.
And, in our case, City Lights gets to work with a brand new script. New areas of the play
are going to be highlighted, making it different than any other production ever produced.
David Hamilton (Homer): Lysistrata is a piece that has been updated, and rewritten over
the centuries, with new "in" jokes and cultural references added with each generation to
"freshen up" the play for the audience. Overall, however, the true super-objectives of
the play reflect timeless themes and glimpses into our own human nature as men and
women that do not fade over the millennia. With my experience in performing classical
works, I feel that I am better able as an actor, to understand these underlying themes,
and as such to better project them to the audience through my mannerisms and
demeanor.
Lucinda Dobinson (Chorus, Ismenia): There is always the danger of either going too far
in an interpretation of a classic such as Lysistrata. There is also the chance that
nothing new is brought to a production that has been done so many times. This case
may be argued for Shakespeare’s entire canon, for sure. I think keeping things
interesting in this regard rely heavily on the director's vision. In this case, we also have
a revamped translation. I believe the modernization of the text and cool, funky
choreography will convey the importance of the theme of the show without coming
across as too stiff or preachy.
Beverly Griffith (Kleonike): We are very fortunate to have Will as a director who has rewritten the script and brought it up to date, enabling the actors to perform an ancient
piece as if it was written very recently. Having a script that makes sense to the actor
makes it easy to portray to the audience and in turn bring much more enjoyment to
those watching.
3) What do you most hope that the audience will take away from their experience in
watching this production?
Nina Harada (Chorus, Dawn): I hope that it will make them reflect on the futility of our
current war. Or, at the very least, simply reflect on it. I hope that it will also make them
realize that thousands of years later, we still talk of gender inequality and though we've
come along way, we are not there yet.
Tom Gough (Magistrate): Initiating or renewing a political perspective towards subduing
military conflict as the primary means of representing national interests. Several calories
burned from exhaustive laughter. Titillation.
Shannon Stowe (Xantippe): Well....a sense of having seen something VERY funny and
very important at the same time. I hope it leaves them with some BIG thoughts to mull
over – more than just anti-war sentiment. I think they will leave feeling FULLY
entertained and probably blushing.
Kim Johnson (Myrrhene): I just want to make them think. Whether or not they agree with
the play’s anti-war message, I want them to think about the play in terms of the war
that’s happening today. I would love everyone that sees Lysistrata to leave the theatre,
sit in a coffee shop, and just talk about theatre, war, politics, gender, and love.
David Hamilton (Homer): That as different as men and women are in their attitudes and
behaviors, we are all very much the same in our deepest hopes and desires.
Lucinda Dobinson (Chorus, Ismenia): Hopefully there will be a disclaimer and no
children will go blind watching this show! But seriously, there are some strong
messages in this show that still have relevance. Women are cast in a very strong light
here. Lysistrata herself proves a powerful figure, using her wits and courage to sway
not only the women of Athens and beyond to stand behind her but also the men. All this
is for the ultimate goal of peace. You don't get much more awesome than that. I hope
THIS is what people remember about this production.
Beverly Griffith (Kleonike): That Aristophanes’ plays are not brain taxing but filled with
understandable, sidesplitting humor!!!
III. For Discussion
A. What to Look For as You Watch the Play
1. How does Lysistrate convince the other women to follow her? Does she trick
them? Guilt them? Or do they believe in the same thing as Lysistrata and just
didn’t know it?
2. How do the men react to Lysistrata’s ideas? How do they respond and do they
eventually learn anything from Lysistrata?
3. How do the sets and costumes contribute to the plot? What do the costumes tell
you about each character?
4. What functions do Kleonike and Myrrhine provide besides being Lysistrata’s
friends?
5. While watching the play, consider what, if any, lessons a modern day audience
learn from Lysistrata that can be applied in today’s society.
B. Quiz
1. What is the name of the great rock, which is guarded by Gates?
2. What is the name of the war that the women want to end?
3. How do the women swear their allegiance to their oath?
4. What city in Greece are Lysistrata, Kleonike and Myrrhene from?
5. Where is Lampito from?
6. Is Lampito royalty? If so what?
7. Who is the Men’s Koryphaios?
8. Who is Myrrhine’s husband?
9. What is the nickname that Kinesias gives himself?
10. What do the Korus women use to scare back the men?
11. What do some of the officers do in the terror of the women?
12. Whom does Lysistrata first reveal her plan too?
13. What is behind the Akropolis?
14. What do the women do to persuade the men to end the war?
B. Quiz Answers
1. What is the name of the great rock guarded by the gates? The Akropolis.
2. What is the name of the war that woman want to end? The Peloponnesian War.
3. How do the women swear their allegiance to their oath? The women drink wine
from a shield.
4. What city in Greece are Lysistrata, Kleonike and Myrrhene from? The women are
from Athens.
5. Where is Lampito from? Lampito is from Sparta.
6. Is Lampito royalty? If so what? Yes. Lampito is a Spartan Princess.
7. Who is the Men’s Koryphaios? Socrates is the Men’s Koryphaios.
8. Who is Myrrhine’s husband? Kinesias is Myrrhine’s husband.
9. What is the nickname that Kinesias gives himself? The Pounder.
10. What do the Korus women use to scare back the men? Pots and Pans.
11. What do some of the officers do in their terror of the women? Defecate.
12. Whom does Lysistrata first reveal her plan too? Kleonike.
13. What is behind the Akropolis? The Temple of Athena.
14. What do the women do to persuade the men to end the war? The women
abstain from sex.
C. Study Questions
1. Is Aristophanes making a statement about the Greek people saying that the only way
and reason why they will stop fighting is because the lack of sex? Is
Aristophanes slighting the Greeks by making them seem no more then sex
hungry citizens? If you were a Greek watching this would you be offended?
2. What is the significance of Lysistrata and the other Greek women sealing their oath
by drinking wine from a shield?
3. “Men behave badly from time to time. So what? Tell me how you women would
restore peace and order to all of Greece?” This line from the Magistrate to
Lysistrata and the other women seem to be condescending. Why does
Aristophanes turn his heroes into heroines?
4. With all of the double meanings that Aristophanes places within the text does he
take away from the overall meaning of the piece? Or do the constant sexual
references only add to the plays overall meaning?
5. Is there another message besides antiwar? Do the men learn and even women learn
anything at the end or do they simply stop fighting for sex?
D. Further Reading/ Bibliography
Aristophanes (Author), Alan H. Sommerstein (Translator). Lysistrata and Other Plays.
Penguin Classics, 2003
Aristophanes (Author), S. Douglas Olson (Editor). Aristophanes: Peace. Oxford
University Press, 2003.
Cott, Nancy F. The Grounding of Modern Feminism. Yale University Press, 1989.
Douglas M. MacDowell. Aristophanes and Athens. Oxford University Press, 1995.
Finney, Gail. Women in Modern Drama: Freud, Feminism, and European Theater at the
Turn of The Century. Cornell University Press, 1991.
Groves, Eric. The Anti-War Quote Book. Quirk Books, 2008.
Lysistrata. Director Ludo Milch. Produced by Ludo Mich and Lode Cafmeyer. Performed
by Denis Denys, Herman De Laet, Annie Cre and Armand De Heselle. Ludo Mich
Productions and Varia Film. 1976.
Nye, Andrea. Feminism and Modern Philosophy. Taylor & Francis Publishing, 2007.
“The Daily Telegraph” September 13, 2006.
<http://www.news.com.au/dailytelegraph/story/0,22049,20403518-5006003,00.html>
Toffler, Alvin. War and Anti-War: Making Sense of Today’s Global Chaos. Grand
Central Publishing, 1995.