A Guide to Ancient Greek Drama (Blackwell Guides to by Ian C. Storey, Arlene Allan

By Ian C. Storey, Arlene Allan

This Blackwell advisor introduces historical Greek drama, which flourished mostly in Athens from the 6th century BC to the 3rd century BC.A broad-ranging and systematically organised creation to old Greek drama. Discusses all 3 genres of Greek drama – tragedy, comedy, and satyr play. presents overviews of the 5 surviving playwrights – Aeschylus, Sophokles, Euripides, Aristophanes, and Menander, and short entries on misplaced playwrights. Covers contextual concerns resembling: the origins of dramatic paintings kinds; the conventions of the fairs and the theatre; the connection among drama and the worship of Dionysos; the political size; and the way to learn and watch Greek drama. comprises forty six one-page synopses of every of the surviving performs.

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Extra info for A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature)

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Dionysos himself is a character in Greek drama, but as we have pointed out above, not all that common in tragedy. If tragedy did develop from the choral songs accompanying his rituals, it may have been the case that there were not all that many myths about Dionysos that could become good drama. Early Greek myth was an incredibly fertile source of stories, of all kinds about all sorts of heroes. Homer had made the Greek war against Troy part of the common heritage of Greece; other song-cycles had arisen over the troubles at Thebes, the early history of Athens, and the boar-hunt at Kalydon.

Lucian (Fisherman 14) has Philosophy demonstrate to her devotees that she at least can take a joke: You got hot and bothered because someone was being rude to you? And yet you know that although Comedy treats me badly at the Dionysia, I still consider her a close friend. I’ve never taken her to court or even had a word of private complaint to her. I just let her make her usual jokes that belong to the festival. For I know that no harm can come from a joke. At various places in the plays the gods and rituals of fifth-century Athens can be seen behind and beneath the texts, and one of the great issues of tragedy is the relationship between humans and gods.

The judges would take an oath to judge fairly – as do the two officials at the opening of the modern Olympics – and each judge would cast his vote for the winning entry, be it in the dithyramb for boys and for men, tragedy, or comedy. Of these ten votes only five were selected by lot – lot being used in Athenian practice to forestall bribery of public officials – and the prizes awarded on the basis of these five votes. 3). Obviously there could be problems. One that springs quickly to mind is that a particular playwright could have the support of seven of the ten judges, but if the five unused votes were all for him, he would lose by three votes to two – assuming that the other three all voted for the same rival.

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