Theatre of ancient Greece

A theatrical culture flourished in ancient Greece from 700 BC. At its centre was the city-state of Athens, which became a significant cultural, political, and religious place during this period, and the theatre was institutionalised there as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres emerged there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.

Etymology The word τραγῳδία, tragodia, from which the word "tragedy" is derived, is a compound of two Greek words: τράγος, tragos or "goat" and ᾠδή, ode meaning "song", from ἀείδειν, aeidein, 'to sing'. This etymology indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy.

Origins

The Ancient Greeks valued the power of the spoken word, and it was their main method of communication and storytelling. Bahn and Bahn write, "To Greeks, the spoken word was a living thing and infinitely preferable to the dead symbols of a written language." Socrates himself believed that once something has been written down, it lost its ability for change and growth. For these reasons, among many others, oral storytelling flourished in Greece. Greek tragedy, as it is known, was created in Athens around 532 BC, when Thespis was the earliest recorded actor. Being a winner of the first theatrical contest held in Athens, he was the exarchon, or leader, of the dithyrambs performed in and around Attica, especially at the Rural Dionysia. By Thespis' time, the dithyramb had evolved far away from its cult roots. Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Because of these, Thespis is often called the "Inventor of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, is credited with creating poems in which characters speak with their own voice, and spoken performances of Homer's epics by rhapsodes were popular in festivals prior to 534 BC. Thus, Thespis's true contribution to drama is unclear at best, but his name has been given a longer life in English as a common term for performer—i.e., a "thespian." The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia (or Great Dionysia). This was organized possibly to foster loyalty among the tribes of Attica (recently created by Cleisthenes). The festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, the names of three competitors besides Thespis are known: Choerilus, Pratinas, and Phrynichus. Each is credited with different innovations in the field. Some information is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedies on themes and subjects later exploited in the Golden Age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493–2, chronicled the fate of the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear their deep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled The Fall of Miletus and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas for bringing to mind a calamity that affected them so personally and forbade the performance of that play forever." He is also thought to be the first to use female characters (though not female performers). Until the Hellenistic period, all tragedies were unique pieces written in honour of Dionysus and played only once; what is primarily extant today are the pieces that were still remembered well enough to have been repeated when the repetition of old tragedies became fashionable (the accidents of survival, as well as the subjective tastes of the Hellenistic librarians later in Greek history, also played a role in what survived from this period).

New inventions during the classical period

After the Achaemenid destruction of Athens in 480 BC, the town and acropolis were rebuilt, and theatre became formalized and an even greater part of Athenian culture and civic pride. This century is normally regarded as the Golden Age of Greek drama. The centrepiece of the annual Dionysia, which took place once in winter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC each playwright submitted a comedy. Aristotle claimed that Aeschylus added the second actor (deuteragonist), and that Sophocles introduced the third (tritagonist). Based on what is known about Greek theatre, the Greek playwrights never used more than three actors. Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner.

Hellenistic period

The power of Athens declined following its defeat in the Peloponnesian War against Sparta. From that time on, the theatre started performing old tragedies again. Although its theatrical traditions seem to have lost their vitality, Greek theatre continued into the Hellenistic period (the period following Alexander the Great's conquests in the fourth century BC). The primary Hellenistic theatrical form was not tragedy but New Comedy, comic episodes about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of New Comedy's most important contributions was its influence on Roman comedy, an influence that can be seen in the surviving works of Plautus and Terence.

Architecture

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