By Ian C. Storey, Arlene Allan
This Blackwell consultant introduces historic Greek drama, which flourished largely 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 artwork kinds; 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. comprises 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)
There were ten judges, one from each of the ten tribes, appointed or selected in some manner that we do not know. Plutarch tells a story about the Dionysia of 468, when the ten strategoi (“generals” – the ten political and military leaders of Athens, elected yearly) were compelled by the archon to judge the contest for tragedy and awarded the prize to the young Sophokles, competing for the first time. But the story is late (ca. AD 100, nearly 500 years after the event) and sounds rather too romantic to be true.
Semele was consumed by the thunder-bolt of Zeus and the embryo, taken at six months from his mother’s womb, was placed in the thigh of Zeus and born three 26 ASPECTS OF ANCIENT GREEK DRAMA months later – compare the birth of Athene (associated with wisdom) from the head of Zeus and the birth of Dionysos (a god of growth) from his genital region. Fathered by and born from Zeus, Dionysos thus becomes a god himself, but his myths tell a repeated story of the need for acceptance. His existence was hidden from Zeus’ jealous wife, Hera, who would eventually drive the young god mad and send him on wanderings far beyond the Greek world.
In fact the fate of women in tragedy is frequently presented in terms of a marriage to death. Seaford (1987) has seen in the fate of Pentheus in Bacchae, who will find not new life and “salvation,” but death, an inversion of the initiation-ritual of the devotee of Dionysos. Thus while Greek drama is not the playing out of the same basic ritual in different forms, the dramatists can exploit familiar rituals for effect. In Wasps we have the comic spectacle of the generations reversed, the conservative son trying to control and educate his willful father.