History of Theatre 1 - From Ritual to Theatre (Subtitles: English, Español, Dutch)
Summary
TLDRThis script explores the evolution of Western theatre from ancient rituals to the birth of drama. It delves into the origins in Greek celebrations of Dionysus, the god of fertility and wine, and the formalization of these rituals into performances. Thespis is credited with introducing the first actor, using masks and impersonation, which led to interactive performances with a chorus. The script continues through the development of theatre in Athens, the introduction of female characters by Phrynichus, and the innovations by Aeschylus, including the reduction of the chorus and the addition of a second actor, culminating in the tragic play 'Agamemnon'.
Takeaways
- 🌐 The origins of theatre are rooted in ritualistic celebrations, particularly those honoring Dionysus, the Greek god of fertility and wine.
- 🎭 The transformation from ritual to theatre is attributed to the introduction of a solo actor by Thespis, who used masks to represent different characters and interacted with the chorus.
- 🏛 In ancient Athens, the 'City Dionysia Festival' became a significant cultural event, where competitions for the best tragedy were held, with Thespis winning the first documented competition.
- 🎭 The introduction of female characters into drama by Phrynichus, played by men in masks, expanded the range of roles and narratives in theatrical performances.
- 🏛️ The skene, a tent or hut, was a key element in the theatre setup, serving as a changing area for actors and representing the location of the plays.
- 🎭 Aeschylus, a prominent playwright, reduced the importance of the chorus and introduced a second actor, enabling dialogue and more complex narratives.
- 🎭 The use of masks was prevalent, with actors often playing multiple roles, including those of the opposite gender, to convey different characters and emotions.
- 🏛️ The structure of ancient Greek plays included a Prologue, Parodos (entrance of the chorus), and various scenes that unfolded the narrative, culminating in an Exodus (departure of the chorus).
- 🎭 The performances were initially outdoor events with large audiences, requiring a more declamatory style of acting to ensure visibility and audibility.
- 🏆 Aeschylus' 'Agamemnon', part of the 'Oresteia' trilogy, won the 'City of Dionysia' competition in 453 BC, showcasing the playwright's mastery of the tragic form.
Q & A
What is the origin of theatre according to the script?
-The origin of theatre might be found in the ritual circle or rectangle, where Dionysus, the Greek God of fertility and wine, was celebrated.
How was the worship of Dionysus described?
-The worship of Dionysus was described as ecstatic by nature, with celebrations that included the sacrifice of a goat called 'Tragos'.
What significant change occurred in the celebration of Dionysus in the sixth century Before Christ?
-In the sixth century Before Christ, the celebration of Dionysus became formalized and ritualized, and women were no longer allowed to participate.
Who is credited with transforming the dithyramb into a literary composition?
-The poet Arion is credited with transforming the dithyramb, a hymn in honor of Dionysus, into a literary composition.
What was Thespis' contribution to the development of theatre?
-Thespis is credited with innovating a new way of performing the dithyrambs by introducing a solo actor who impersonated characters, using masks to distinguish between different roles.
What was the significance of the 'City of Dionysia' festival in 534 Before Christ?
-In 534 Before Christ, the 'City of Dionysia' festival instituted a competition for the best tragedy, which was won by Thespis, marking a significant moment in the history of theatre.
How did Phrynichus contribute to the evolution of drama?
-Phrynichus, a pupil of Thespis, is credited with introducing female characters, played by men in female masks, and contemporary subjects into drama.
What was the role of the skene in the theatre of the fifth century?
-In the fifth century, the skene, a rectangular building behind the orchestra, served as a place where actors could change costumes and masks, and it often represented the location of the plays.
What was Aeschylus' contribution to the structure of Greek tragedies?
-Aeschylus diminished the importance of the chorus, reduced it to twelve men, and innovated a second actor, making dialogue between characters possible.
How many plays by Aeschylus have survived, and what is one of them?
-Out of about eighty plays written by Aeschylus, only seven have survived, one of which is the tragedy 'Agamemnon'.
What is the significance of the 'Oresteia' trilogy in the context of the 'City of Dionysia' festival?
-Aeschylus won the annual competition of the 'City of Dionysia' in 453 BC with his 'Oresteia' trilogy, which included a satyr play following the tragedy.
Outlines
🎭 The Birth of Theatre in Ancient Greece
This paragraph delves into the origins of Western theatre, tracing its roots to the rituals dedicated to Dionysus, the Greek god of fertility and wine. The transformation from these ecstatic celebrations to formalized rituals is highlighted, with the construction of a temple and altar signifying a shift. The introduction of the dithyramb, a hymn performed by a chorus, and the pivotal role of the poet Arion in elevating the language used in these rituals is discussed. Thespis is credited with revolutionizing the performance by introducing a solo actor, or hypokrites, who used masks to portray different characters, thus interacting with the chorus in a narrative format. This innovation is considered a significant step towards the modern concept of theatre. The paragraph also touches on the historical context of democratic Athens and the establishment of theatre competitions, with Thespis winning the first documented competition. The evolution of theatre is further explored through the contributions of Phrynichus, who introduced female characters and contemporary themes. Despite the significance of these early works, none have survived to the present day.
🏛 Developments in Ancient Greek Theatre
The second paragraph focuses on the structural and thematic evolution of ancient Greek theatre. It describes the skene, a tent-like structure behind the orchestra where actors could change costumes and masks, and its eventual transformation into a permanent stone building. The paragraph highlights the contributions of Aeschylus, who reduced the size of the chorus and introduced a second actor, enabling dialogue between characters. The use of masks and costumes is discussed, along with the depiction of these elements in vase paintings, albeit from a later period. Aeschylus' impact on theatre is further illustrated through a brief summary of his play 'Agamemnon,' which includes a prologue, the entrance of the chorus, and key scenes involving the main characters. The narrative style of the play, characterized by a more declamatory delivery due to the open-air setting and large audience, is noted. The play's plot revolves around the return of King Agamemnon from the Trojan War, his murder by his wife Clytemnestra, and the subsequent power struggle, ending with a prediction of revenge by their son Orestes. The paragraph concludes with Aeschylus' victory in the 'City of Dionysia' competition in 453 BC.
Mindmap
Keywords
💡Dionysus
💡Dithyramb
💡Thespis
💡Hypokrites
💡City Dionysia Festival
💡Skene
💡Aeschylus
💡Chorus
💡Mask
💡Oresteia
Highlights
The origin of theatre may have come from ritual circles or rectangles, known as the orchestra, where Dionysus, the Greek god of fertility and wine, was celebrated.
Dionysus worship was ecstatic by nature and became formalized and ritualized in the sixth century BC.
Women were no longer allowed to participate in the rituals, and a temple of Dionysus was built near the orchestra with an altar, thymele, in the center.
The dithyramb, a hymn in honor of Dionysus, was performed by a chorus of up to fifty men, accompanied by Oriental-sounding music.
Poet Arion transformed the dithyramb into a literary composition, bringing beauty and formality to the celebration.
Thespis is credited with inventing a new performance style, where a solo actor used masks to distinguish between characters, marking the birth of modern theatre.
Thespis' performances on a cart throughout Greek towns represent one of the earliest examples of itinerant theatre.
In 534 BC, during the City Dionysia festival, Thespis won the first documented competition for best tragedy, instituted by Peisistratus.
Phrynichus, a pupil of Thespis, introduced female characters played by men and contemporary subjects into drama.
The City Dionysia Festival in Athens became extremely popular in the fifth century BC, with temporary wooden tiers for spectators and a skene (tent) erected for actors to change costumes.
Aeschylus reduced the chorus to twelve men and introduced a second actor, allowing for dialogue between characters, thus advancing the art of playwriting.
Masks made of perishable materials like linen or wood were used by actors to play multiple roles, including female characters.
Aeschylus wrote approximately eighty plays, but only seven have survived; his tragedy 'Agamemnon' is one of them.
In 'Agamemnon,' the play begins with a prologue where a watchman awaits a signal for the fall of Troy, symbolizing the start of the tragedy.
Clytemnestra, Agamemnon's wife, kills him to avenge the sacrifice of their daughter, Iphigenia, concluding with Orestes' promise to return and avenge his father.
Transcripts
History of Western Theatre
From ritual to theatre
The origin of theatre . .
might be found in the ritual circle or rectangle:
the orchestra or dancing place, laid out at the foot of a hill.
Here, Dionysus was celebrated,
the Greek God of fertility and wine, . . .
said to be born out of the thigh of Zeus. . .
The worship of Dionysus was ecstatic by nature. . .
In the sixth century Before Christ
the celebration became formalized and ritualized.
Women were not allowed anymore to participate.
Nearby the orchestra,
a temple of Dionysus was built,
and in the middle of the orchestra
a thymele, or altar was placed, . .
and it is thought
that the celebration started
with the sacrificing of a goat
called ‘Tragos’. , ,
A probably uniformly dressed chorus of up to fifty men
sang, accompanied by perhaps more or less Oriental sounding music
a socalled Dithyramb, . .
a hymn in honor of Dionysus. . .
Symbolic gestures of the chorus dance
seem to have been closely related
to the words that were sung.
Allegedly,
the poet Arion
was the first to transform the dithyramb . .
into a literary compostion. . .
With Arion, the beauty of language entered the ritual celebration.
In the late fivehundreds Before Christ
in Athens,
a democratic discourse arose,
striving to give all male inhabitants . . .
of middle and lower classes . . .
a voice in state-affairs.
In that period.
a singer of dithyrambs,
named Thespis, . . .
is credited with innovating a new way of performing
the dithyrambs,
in which a solo actor
impersonated the characters of the songs.
He used masks
to distinguish between different characters.
He became the answerer or hypokrites.
By wearing a mask of, for instance, a god,
he, as it were, steppped out his normal being:
the extase,
and came in a state of divinity
the enthoustase.
The actor spoke and acted as if he was divine,
and interacted with the leader of the chorus and its members,
who acted as narrators and commentators.
This new style of performance,
based on a written text, and
not to forget,
in the presence of an audience,
may have marked the birth of theatre
as we know it today.
It is claimed that Thespis travelled about on a cart with plays.
This could mean that he performed in several Greek towns.
This itinerant theatre
is kept up until long after the middle ages.
In 534 Before Christ,
during an annual festival, . .
called: 'The City of Dionysia' . .
a competition for the best tragedy was instituted by the ruler of Athens at that time:
Peisistratus,
and Thespis won this first documented competition.
Thespis’ pupil, Phrynichus,
was credited with introducing into drama female characters,
played by men, wearing female masks.
He also introduced contemporary subjects.
he won the competion with the Phoenissae,
who celebrated the defeat of the Persian king: Xerxes
at the Sea-battle of Salamis.
However,
none of his works,
nor that of any other dramatist from the sixth century BC,
have survived.
In the fifth century
the 'City Dionysia Festival'
became very popular in Athens.
Temporary wooden tiers of benches
were built up on the side of the Acropolis.
Note the rectangular shape of this orchestra.
During the festival a rectangular building,
called the skene, . .
meaning tent or hut, . .
was erected behind the orchestra,
where the actor,
who played several rolls,
could change his costume and mask.
Perhaps the skene itself
served to represent the location of the plays,
usually set in front of a temple, palace or house.
Typically, there were two or three doors in the skene
that led out onto the orchestra,
and from which the actor probably could enter and exit.
Only much later,
in the fourth century BC,
the skene became a permanent stone structure.
Of all the hundreds of tragedies
known to be written in the fifth century
thirty-two tragedies of only three playwrights have survived.
The first of these playrights was Aeschylus. . .
He diminished the importance of the chorus,
and reduced it to twelve men.
He probably innovated a second actor,
thus making dialogue between characters possible.
Each of the two actors
usually played more than one roll,
including female characters.
They wore always painted masks made of perishable linen,
cork or lightweight wood.
In particular on vase paintings,
these tragic masks and costumes are depicted,
But. in most cases these vases
are from a period later than the fifth century.
Tragic actors in costume
Members of the chorus with mask
Tragic actors in costume.
Aeschylus has written about eighty plays,
only seven have survived.
Now we see a brief summary
of a TV recording of his tragedy: 'Agamemnon',
in which the actors wear masks.
Note that the performance is indoors.
In Aeschylus times the actors played in the open air,
with thousands of spectators.
so in those days
the delivery was probably more declamatory than realistic.
The play starts with a Prologue.
This watchman is standing on the roof of the skene,
representing the palace of Agamemnon.
He is waiting for a signal,
announcing the fall of Troy to the Greek armies.
>> WATCHMAN: The torch place that means that Troy is finally taken.
Next comes the Parodos, or the entrance of the chorus,
made up of old citizens,
telling and singing the story of the Trojan war.
>> CHORUS: This blood king Agamemnon
The Queen Clytemnestra appears,
and the Chorus hears from her
that Troy has fallen.
>> CHORUS: Clytemnestra
>> CLYTEMNESTRA: The Greek armies have taken the city of Priam.
A herald appears, and confirms the tidings.
>> HERALD: King Agamemnon, welcome him warmly.
King Agamemnon enters in his chariot with Cassandra,
a Trojan Princess
whom he has taken as his slave and concubine.
>> AGAMEMNON: First I greet Argos
and the Gods of this blood clan.
Clytemnestra welcomes him,
professing her love.
>> CLYTEMNESTRA: I am not ashamed to confess in your prensence my love, for my manlord...
Agamemnon acts coldly toward her.
>> AGAMEMNON: Your words, like my absence, lasted too long.
and eventually he walks on a carpet
of purple robes
and he enters the palace.
>> AGAMEMNON: If it means so much...
Cassandra tells the chorus
that they will see their king dead.
>> CASSANDRA: One strokes for the slave girl, butchered defenceless.
The Chorus' fears grow,
and they hear Agamemnon cry out in pain from inside the palace.[scream of Agamemnon]
Clytemnestra appears,
standing over the corpses of her husband and Cassandra
She declares that she has killed him to avenge Iphigenia,
their daughter who was sacrificed so that the Greek fleet could sail to Troy.
>> Clytemnestra: A rebel in glory
Then the queen is joined by her lover Aegisthus.
They take over the government.
>> AEGISTHUS: A dose of the strong arm will soon get you docile.
The Chorus declares that Clytemnestra's son, Orestes, will return from exile to avenge his father.
>> CHORUS: He will kill this couple.
>> AEGISTHUS: You and I, we will rule this house.
Exodus: departure of the chorus
With this tragedy, part of the trilogy: Oresteia, followed by a satyr play, Aeschylus won in 453 BC the annual competition of the 'City of Dionysia'.
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