By Ruth Scodel
"This ebook presents a short and obtainable creation to Greek tragedy for college kids and normal readers alike. no matter if readers are learning Greek tradition, appearing a Greek tragedy, or just drawn to interpreting a Greek play, this ebook can help them to appreciate and luxuriate in this hard and worthwhile style. An advent to Greek Tragedy offers history info; is helping readers savour, enjoy, and have interaction with the performs themselves; and provides them an idea of the $64000 questions in present scholarship on tragedy. Ruth Scodel seeks to dispel deceptive assumptions approximately tragedy, stressing how open the performs are to various interpretations and reactions. as well as common heritage, the publication additionally contains chapters on particular performs, either the main regular titles and a few lesser-known performs - Persians, Helen, and Orestes - as a way to express the range that the tragedies supply readers"-- Read more...
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Extra resources for An introduction to Greek tragedy
It included a bull for sacrifice and various other animals, and the men who were paying for the dramatic and dithyrambic performances paraded in elaborate, magnificent robes. ) As was usual in a procession honoring Dionysus, there were large models of an erect phallus carried on poles, the phalloi. Then there were the performances:Â€three sets of three tragedies and a satyr play; five comedies; and ten circular choruses performed by adult men and ten by boys. The simplest arrangement would be five days, with either tragedies or circular choruses first and a comedy later.
An actor who had a speaking part in one scene could exit and change mask and costume. He could then reenter in a different role, and his earlier character could still be present, played by an extra in the mask and costume, as long as the character had no lines. Extras were also needed as “spear carriers”Â€– not infrequently, a king in tragedy will speak to an attendant whose presence has not been Origins, Festival, and Competitionâ•‡ /â•‡ 45 noted so far. The high-status characters were always followed by attendants.
We do not know, however, to what extent audiences really noticed that the actor inside the costume and mask was the same person. A strong and beautiful voice was important for an actor, but the sources do not say to what extent the actors tried to sound different in different roles. The tragedians produced and directed their own plays, although the chorus had a trainer as well, at least later on. In the early days of tragedy, they were probably actors too. Starting in 449 BCE, there was a competition for tragic actors, and acting was evidently professionalized.