Greek Drama
4U1 Efpatridis
An Introduction to Oedipus the King
Origin
 dramatic plays, mainly tragedies, evolved from choral readings in
honour of the god Dionysus
 drama was considered part of civic religious worship
 tragedy performed at 3 annual festivals
 elaborate ceremonies, religious processions, dancing and rituals
(sacrifice) preceded play
 attendance at festivals was a civic and religious duty; not just
entertainment
 the writer of the play, a poet, in charge of directing, producing
and supervising rehearsals
 poets involved in festivals assigned actors, chorus, musicians, etc.
 all costs for production paid for by wealthy citizen chosen by
gov‟t. ; considered a public service of great honour
 Father of Greek drama: Thespis-first to use an actor
 Sophocles, author of Oedipus, was one of the three great
tragedians who lived and wrote in 5th C B.C Athens
 his plays are still read and studied because issues in them are still
relevant today and stories are still captivating
The Plot
 material for plays taken from mythology: collection of social,
political, religious history of the people
 similar in value to our Bible; profound tales of human life and
nature of gods
 not only customary for plays to reflect stories but since there was
a religious function of drama, the moral and emotional content of
the myths were fitting for plays
 since plots and characters were already familiar to the audience,
they could understand the messages in the play
The Theatre
 open air arena provided a place where, dancing could occur, and
a place where orchestra and chorus were located
 actors performed on a platform
 “skene” was a retiring building much like a dressing room
 only male actors permitted
 those with speaking parts called “professionals”
 “amateurs” had no speaking roles; part of the chorus
 only 3 actors to play all the roles: distributed according to
prominence
 actors clothed in rich, long garments paid for by the wealthy
 wore masks „larger than life” to show the nature and
characteristics of the character
 masks amplified voices of actors: no microphones
 crowned by a headdress called “onkos”
 elevated on a raised boot - “cothurnus”
 these accessories made a striking impression that contrasted to
the tragedy in the play
 “deus ex machina” a machine with hooks and pulleys to raise and
descend actors on stage “to show a god”
 dance, music and instruments major role in Greek drama
Greek Theatre
Mrs. Dobson-Efpatridis
The Chorus
 It is the nucleus from which the tragedy evolves
 Group of “actors” in the play
 Speak in unison to give the play musical effect
 Acts like an “ideal spectator”: chants and sings in solemn tones
 Pay attention to the speeches: changes in tone and mood
 Clarifies experiences and feelings of the characters in everyday
terms
 Expresses the conventional moral and ethical attitude toward
developments in the story
 Creates a psychological and emotional background to the action
 Points out the significance of events and summarizes
 Representation of the society at large; voicing opinions/showing
reactions of the “common people” as a story unfolds
 Extremely important part of any Greek Tragedy
 Never leave the stage
 Similar to a jury – group of 12 or 15 wise, honest men: listen to facts, offer
advice, give opinions, and reach a verdict or objective truth based on evidence
presented
Action of the play broken into separate scenes by choral songs which also
occur within the scenes. Therefore, the odes cover the passage of time between
events and separate episodes.
Structure
Classical tragedies had a definite framework.
Prologue
Opening scene-background of story is established.
Parados
Entrance of the chorus-chanting a lyric that relates to the
main theme of the play (the chorus enters between episodes
or scenes.
Episode
An act or scene-plot developed through action and dialogue
between actors. The chorus plays a minor role.
Stasimon
the chorus‟ choral ode-appears at end of each episode
Exodus
The final action of the play after the last choral ode and
ended by the ceremonial exit of all the players.
Greek tragedy was performed without breaks or intermissions; divisions only illustrative.
An Introduction to Oedipus the King
and Greek Theatre
Mrs. Dobson-Efpatridis
Structure of Greek Tragedy vs. Shakespeare’s Tragedy
Greek
Shakespeare
 never any violence on stage
great deal of violence;
duels
 tragedy/comedy never combined
usually mixed
 females did not act
female roles played by
men
 CHORUS communicates
directly with audience and presents
background information
no CHORUS
important facts revealed
throughout course of
play
 stylized theatrical costumes
modern 17th century
dress
 problems for hero arise from
challenging power of gods
and fate
hero’s downfall more
human in its origin
ie. gods do not interfere
with men’s actions
 Classic Dramatic Rules followed
1) unity of space (one set),
2) unity of action (no subplots),
3) unity of time (not more than 24 hrs)
Shakespeare violated
rules