By Ian C. Storey, Arlene Allan
This Blackwell consultant 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. offers overviews of the 5 surviving playwrights – Aeschylus, Sophokles, Euripides, Aristophanes, and Menander, and short entries on misplaced playwrights. Covers contextual concerns similar to: the origins of dramatic paintings kinds; the conventions of the fairs and the theatre; the connection among drama and the worship of Dionysos; the political size; 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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Extra resources for A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature)
Scenes from the comedy of Menander (career: 325–290) were often part of the decoration of ancient houses, most notably the so-called “House of Menander” in Pompeii (destroyed in AD 79 by the eruption of Vesuvius) and a third-century AD house in Mytilene on Lesbos, where eleven mosaics remain, with named characters that allow us to identify the exact scene in at least two comedies. The Dramatic Festivals At Athens drama was produced principally at two of the festivals honoring the god Dionysos, the Lenaia and the City Dionysia.
E (lead actor: Neoptolemos) actor’s prize: Thettalos The Lenaia took place in the Athenian month of Gamelion (“Marriage”), which corresponds to our late January. It was an ancient festival of the Ionian Greeks, to which ethnic group the Athenians belonged. We know little about the purpose and rituals of the Lenaia – mystical elements have been suggested, a celebration of the birth of Dionysos, or the ritual of sparagmos (eating the raw flesh of the prey). A parade on this occasion is attested with “jokes from the wagons,” that is, insults directed at the spectators, and a general Dionysiac sense of abandon.
Of these ten votes only five were selected by lot – lot being used in Athenian practice to forestall bribery of public officials – and the prizes awarded on the basis of these five votes. 3). Obviously there could be problems. One that springs quickly to mind is that a particular playwright could have the support of seven of the ten judges, but if the five unused votes were all for him, he would lose by three votes to two – assuming that the other three all voted for the same rival. How were ties broken?
A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature) by Ian C. Storey, Arlene Allan