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

By Ian C. Storey, Arlene Allan

ISBN-10: 1405102144

ISBN-13: 9781405102148

ISBN-10: 1405102152

ISBN-13: 9781405102155

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 advent to historic Greek drama. Discusses all 3 genres of Greek drama – tragedy, comedy, and satyr play. offers 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 artwork varieties; the conventions of the fairs 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 resources for A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature)

Example text

10–17): The thea[trical productions] were [of two types]: the Lenae[an appear not to have been equ]ally reputable, perhaps also because of the fact that in s[pring the al]lies had already c[ome from abroa]d to see [the performances and do b]usiness. 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.

Greek drama, especially Greek tragedy, is eminently emotional and entertaining. In a world of small cinemas and contained theaters, we cannot realize what the experience of the ancient outdoor civic theater was like. Aristotle states that the “end” of tragedy is to elicit pity and fear and to achieve a katharsis of these emotions, and an audience of some 15,000 people must have responded to a particularly effective drama (be it tragedy or comedy) with a collective and emotional response. But was that response one that they would have associated with Dionysos?

Zeus’ ever-jealous wife, Hera, incited the Titans to tear Dionysos to pieces and devour his flesh. Athene saved the heart, which she gave to Zeus, who swallowed it, thereby taking the essence of Dionysos to himself. He subsequently makes Semele pregnant with Dionysos and the story continues as we know it. The Titans were destroyed by the fire-bolts of Zeus, and from their ashes came the race of human beings, thus possessing both the rebellious spirit of the Titans and the godhood of Dionysos. This was the Dionysos of the Orphics, a cult like that of the Mother and Daughter at Eleusis, which promised its followers “salvation” in the next world, through initiation in this world as well as a moral life.

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

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