Ancient Greek theatre:

Joaquin Gandola

Introduction:
Ancient Greek theatre origins remained to the ancient festival Dionysia during the period of the
6th century BC in Athens, during the tyranny of Peisistratus. The Dionysia consisted of a
religious tribute to the God of the wine, fertility, and later theater, Dionysus. This is mainly
because before the institutionalization of theater, as a place of art, democratic expression and
entertainment; the original dances, masks, and chorus were entirely based on the drinking rituals,
from the cults of Dionysus. Those were known as the “Dithyramb”.

Originally, Dithyramb was known as early as the 7th century BC in Greece it consisted of a
choral song, in honor of the God of fertility. This traditional dance had several religious
connotations. They were entirely improvised by banqueters, by order of the cult’s leader, in a
drunken state. They recited Poems in an improvised way, or sing about ancient Greek myths and
stories (most of them were related to Dionysus). They would also use certain masks in order to
impersonate a deity. The dancing moves were based on the “ravenously” dances of the first
Maenads. Instruments would also have been incorporated. The most commonly used was the
“Aulos”.
(In the first image, we can see the Dithyramb being performed by the cults of God of Fertility. In
the second one we observe an illustration of a Maenad; one of the first worshippers of Dionysus,
which used to live in the wilderness, in order to coexist with nature).

(This is “Aulos” an old instrument used in Greek Dithyrambs to pay tributes to the Gods)

In the end. It did not happen much until, in the same period, (600 BC) that this traditional ritual
- “began to achieve literary distinction about 600 BC, when, according to the Greek
historian Herodotus, the poet Arion composed works of this type, named the genre, and formally
presented them at Corinth”-.

Though literary distinction, Dithyramb manage to emancipated from any religious connotation
and gave birth a movement of poetic scholars, who intended to transform the tradition into an art
called, “Drama”. “-According to Greek tradition, the actor and playwright Thespis invented the
drama when he augmented the chorus of the dithyramb with a single actor who wore masks to
portray several different characters. With the possibility of dialogue between the actor and the
chorus, more complex themes and modes of storytelling could be developed”-.
“Drama”:
It is a literary genre, in which whose story, settled in plays replicates situations from human life
through their characters. After its foundation, with the possibility of dialogue between the actor
and the chorus, more complex themes and modes of storytelling would be developed. As a result,
more types of stories would come in hand; some with more complex characters and settings,
capable of make you feel pity, shame, guilty and sad. Others with a more opposite intention such
as the joy, enthusiasm, and entertainment. These stories would be categorized by the names of:
“Tragedy”, “Comedy”, and “Satyr”.

“Tragedy”:
One of most relevant pieces of art of ancient Greek drama. It focusses mostly in tales that shows
us certain perspectives of human life, political, and philosophy. Its highlights is the concept of
unfairness depiction in everyday life, back in the city of Athens. Though, this concept is very
relatable on current times. The dead of the protagonist at the end of the plot was a very common
distinction in Tragedy plays. The use of masks to change between characters also was a common
thing. Since

- “A classical tragedy portrays a high or noble person who struggles and falls in a conflict with
some superior force—whether it be fate, the gods, or his own “tragic flaw,” a weakness in his
own character. A domestic tragedy concerns the lives of ordinary people rather than heroic
figures.”-

Aeschylus is considered, by many scholars, the Father of Tragedy plots. Because of his
contributions, to Greek Tragedy, and the transcendence of his plays across the times and periods.

“Comedy” and “Satyr”:

Along with Satyr, has the opposite concept from Tragedy. Instead of depicting delicate themes as
the previous case, Comedy fully centers in deliver the public the joy, entertainment and
excitement with its plays. Most of them, were about love plots between, two primary characters
who are meant to be each other, while the comedic relief, relied on the secondary character’s
shoulders. The story would always end with a happy ending, with the couple finally together and
the support of the secondary roles. – “Comedies likewise take different forms. A romantic comedy
is a love story that ends with the main characters, the lovers, united. The secondary characters
are comic ones. -“

- “Farce is comedy at its broadest, featuring rollicking fun and clever silliness. A comedy of
manners is subtle, witty, and often mocking, poking fun at the flaws or insincere behavior of a
particular class or circle of people. Sentimental comedy mixes corny or syrupy emotion with its
humor. Melodrama has a plot filled with overblown emotion, extreme situations, and menacing
threats by a villain, but it also includes comic relief and has a happy ending. It depends upon
physical action rather than upon character development. -“

On the other hand, Satyr, it is also a comedy story, in sort of way. The only difference with
comedy, is that Satyr’s deliverance plot is the parody in a bawdy way, of a famous Greek myth,
Epic play, and even poetry. In both cases, the use of exaggerated masks and costumes for
actors/actresses to change between characters or bring a “funny” performance, was more
predominant, also in order to emphasize de bawdiness of the play.

A great exponent of Comedy and Satyr genre, was Aristophanes. Although, he was highly
satirical. In his plays he would encourage the chorus and the actors to use several exaggerated
costumes.

“The Dionysia”:
The Dionysia, also called “Great Dionysia” or “City Dionysia”, was a massive festival that was
created in the 6th Century BC, for paying tributes to the God of Fertility Dionysus. It happened
every March of the year; and it encouraged the democratic expression by the form of Tragedy,
Comedy and Satyr plays. Besides the tributes; the main event was the competition between
playwrights, whose plays would be qualified by a selected Jury, and the one succeeds, would
embrace the recognition and transcendence of the playwright and the play itself by inscribing
their names in a wall of stone of the theater.
 [*Note: During the Tyranny of Peisistratus, he made reforms that affected The Dionysia.
Fist its name changed to “Great Dionysia” or “City Dionysia”. In the plays, its was prohibited
that the plots include criticism, a satirist reference or a jibe related to political themes or leaders.
Also in addition, the reward for the winner, would contain an income. This was made as a form
to givethe festival a sort of sponsorship, that was given from nobles or rich men of the period. ]

-REMOVE. OR LEAVE IT-

Sources:
https://www.youtube.com/watch?v=aSRLK7SogvE

https://www.youtube.com/watch?v=dSr6mP-zxUc&list=RDQM0GThUY-azUY&index=7

https://www.nationaltheatre.org.uk/

https://www.metmuseum.org/toah/hd/thtr/hd_thtr.htm

https://www.worldhistory.org/Greek_Theatre/

https://www.britannica.com/art/dithyramb

https://study.com/learn/lesson/what-is-a-maenad-greek-mythology.html

https://www.britannica.com/art/Western-theatre/Ancient-Greece
https://www.britannica.com/biography/Peisistratus

https://www.brown.edu/Departments/Joukowsky_Institute/courses/13things/7411.html

https://kids.britannica.com/students/article/drama/274059