By Ian C. Storey, Arlene Allan
This Blackwell consultant introduces old 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 historical 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 matters equivalent to: the origins of dramatic paintings varieties; the conventions of the gala's and the theatre; the connection among drama and the worship of Dionysos; the political measurement; and the way to learn and watch Greek drama.
• comprises forty six one-page synopses of every of the surviving plays.
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Extra resources for A Guide to Ancient Greek Drama
Oh yes, as the table is being removed. ” Comedy felt free to laugh at and make fun of its gods, even (especially) the deity for whom it was being produced. Comedians would put Dionysos in the most unlikely situation possible and then watch the fun emerge as this essentially unheroic and pleasure-loving god tried to live up to his situation. Two slaves in Frogs describe Dionysos well: Slave: Your master is a very noble fellow. Xanthias: Of course he is – all he knows is drinking and fucking. This last carries in the Greek the nice aural ring of pinein and binein.
He is a god of growth and the power of youth. Dionysos is a notoriously difficult deity to apprehend. He does go back to the late Bronze Age – his name has been found on the Linear B tablets ca. 130–40), but he was always the outsider in the world of the Olympians. In the standard version of his birth (told in Euripides’ Bacchae), he was the product of a divine father, Zeus, and a mortal princess, Semele of Thebes, and such an offspring of divine and human is usually a human hero (such as Perseus or Helen or Herakles).
How would a choregos from the nouveaux riches react to sponsoring a conservatively minded political comedy by Aristophanes or Eupolis? The dramatic presentations were competitions. ). We know also the ancient Greeks were an intensely competitive people, for whom the great cycles of competitions were major events in the life of that society. The Pythian Games at Delphi in fact began as competitions in music and poetry before the athletic competitions were added, and “music” loomed large in the four-yearly festival of the Panthenaia (“All-Athenian”) at Athens.