By Ian C. Storey, Arlene Allan
This Blackwell advisor introduces historic 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 corresponding to: the origins of dramatic paintings types; 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. contains forty six one-page synopses of every of the surviving performs.
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Additional info for A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature)
With “t]o the city” the Dionysia is indicated. Eratosthenes also says of Plato (the comic poet) that as long as he had his plays produced by others, he did well; but when he first produced a play on his own, Theater Police (Rhabdouchoi), and placed fourth, he was pushed back to the Lenaea. (This is part of a second-century commentary on an Old Comedy. The translation given here is that of Csapo and Slater (1995) nr. 71, p. 135. ) 18 ASPECTS OF ANCIENT GREEK DRAMA But this may just be the conclusion of Eratosthenes, based on the didaskalia (“production records”), which may have shown Platon finishing fourth at a Dionysia of one year and then producing only at the Lenaia of the next year.
In Eupolis’ Officers someone mistakes him for a “she” and threatens to sell “her” as soon as possible. In Dionysalexandros he appears as Paris, either in the guise of a Trojan prince or more likely as a rustic shepherd, and we are told that the chorus of satyrs laugh and jeer at him. In Frogs (38–46) Herakles breaks out laughing at the sight of Dionysos in his usual saffron robe, covered by a lion-skin, wearing soft boots and carrying a club. ” Disguising Dionysos and then penetrating that disguise was part of his role in drama.
Kratinos fr. 17) The speaker here could be a choregos, another archon, or just possibly Tragedy herself. When the poets were selected, the next duty of the archons was to find twenty choregoi for the twenty dithyrambic choruses, three choregoi for tragedy (one for each playwright), and five for comedy (again one for each competitor). The word choregos (plural: choregoi) means “chorus bringer,” and these were wealthy Athenians whose job it would be to recruit choristers, hire a trainer, provide a training-space, maintain these choristers, provide the costumes and masks and any “special effects” that would be needed.
A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature) by Ian C. Storey, Arlene Allan