Introduction to TragedyIntroduction to TragedyHistory of TragedyHistory of Tragedy

Origins of TragedyOrigins of Tragedy

Tragedy developed in Tragedy developed in Athens Athens

Gradually the Gradually the popularity of popularity of Athenian drama led Athenian drama led to the building of to the building of theaters throughout theaters throughout the Greek and the Greek and Roman worldRoman world

Origins of TragedyOrigins of Tragedy

Close to 900 Close to 900 tragedies were tragedies were presented in Athens presented in Athens during the 5during the 5thth century century B.C.E.B.C.E.

Aeschylus, Sophocles, Aeschylus, Sophocles, and Euripides wrote and Euripides wrote about 220 tragediesabout 220 tragedies Only 32 Greek Only 32 Greek

tragedies have tragedies have survivedsurvived

AeschylusAeschylus

Seven surviving Seven surviving playsplays

Wrote Wrote “Agamemnon”“Agamemnon”

EuripidesEuripides

19 surviving plays19 surviving plays One is not a One is not a

tragedy; it is a tragedy; it is a “satyr” play:“satyr” play: Comedy performed Comedy performed

as comic relief after as comic relief after a classical Greek a classical Greek tragic trilogytragic trilogy

SophoclesSophocles

Seven surviving playsSeven surviving plays Most influential of the Most influential of the

three great three great tragedianstragedians

Influenced Aristotle’s Influenced Aristotle’s understanding of the understanding of the genregenre

Wrote “Oedipus Rex”Wrote “Oedipus Rex”

Definition of TragedyDefinition of Tragedy

A tragedy is a drama, A tragedy is a drama, which recounts an which recounts an important and causally important and causally related series of events related series of events in the life of a person of in the life of a person of significance, such significance, such events culminating in events culminating in an unhappy catastrophe an unhappy catastrophe (human suffering, often (human suffering, often the decline and death of the decline and death of the hero), the whole the hero), the whole thing treated with great thing treated with great dignity or seriousnessdignity or seriousness

Etymological MeaningEtymological Meaning

Etymology - study of word originsEtymology - study of word origins ““Tragoidia” - ancient Greek word Tragoidia” - ancient Greek word

for “tragedy”for “tragedy” Originally meant “Goat Song” Originally meant “Goat Song”

(referred to the song at the (referred to the song at the sacrifice of a goatsacrifice of a goat

Evolution of Early Greek DramaEvolution of Early Greek Drama

Moved from an unstructured to a more Moved from an unstructured to a more structured form through the agesstructured form through the ages

Four stagesFour stages

Stage One: The FestivalStage One: The Festival Two festivals honouring the god of fertility and wine (Dionysus)Two festivals honouring the god of fertility and wine (Dionysus) Began with parades, priests chanting, wine, drinking, dancing, Began with parades, priests chanting, wine, drinking, dancing,

etc.etc. Song contests took place at festivals celebrating Dionysus and Song contests took place at festivals celebrating Dionysus and

the harvestthe harvest Choruses sang the Choruses sang the dithyrambdithyramb, a song in honour of Dionysus, , a song in honour of Dionysus,

and the winning poet was awarded a bull or a goat, animals and the winning poet was awarded a bull or a goat, animals associated with Dionysusassociated with Dionysus

The Dithyramb and SacrificeThe Dithyramb and Sacrifice The awarded animal was The awarded animal was

sacrificedsacrificed Sacrifice was viewed as a deed that Sacrifice was viewed as a deed that

is both necessary and awful; is both necessary and awful; therefore, those who sacrificed therefore, those who sacrificed wore masks to conceal identity (just wore masks to conceal identity (just like executioners used to do!)like executioners used to do!)

Links to TragedyLinks to Tragedy

Sacrificers also voiced their guilt in a song Sacrificers also voiced their guilt in a song of lamentation for the goatof lamentation for the goat

Links to the elements of tragedy are clear:Links to the elements of tragedy are clear: Violent bloodshedViolent bloodshed GuiltGuilt Concealed identity (through masks)Concealed identity (through masks) SongSong

Stage Two: The DithyrambStage Two: The Dithyramb

More formal theaterMore formal theater Eventually led to Eventually led to

the evolution of the the evolution of the choruschorus

Introduced Introduced audience as a part audience as a part of the worshipof the worship

A combination of A combination of dance and song dance and song (50+ men involved)(50+ men involved)

Stage Three: Plays about Stage Three: Plays about Greek GodsGreek Gods

Not totally tragicNot totally tragic Combination of the tragic and the comicCombination of the tragic and the comic

Based on the myths and legends of Based on the myths and legends of the timethe time

Stage Four: TragedyStage Four: Tragedy

““Tragos” – goatTragos” – goat ““Aeidein” – to singAeidein” – to sing Very structured, and focused Very structured, and focused

exclusively on the tragicexclusively on the tragic

What did a Greek theatre What did a Greek theatre look like?look like?

The Greek Theatre: The Greek Theatre: ConstructionConstruction

Semicircular, open air Semicircular, open air amphitheateramphitheater

Seated approx. 20 Seated approx. 20 000000

Built into hillside - Built into hillside - tiers or seats cut into tiers or seats cut into hill were later hill were later replaced with stonereplaced with stone

Crane used to enable Crane used to enable actors playing gods to actors playing gods to be lowered from the be lowered from the “heavens” or raised “heavens” or raised from “the earth”from “the earth”

The Greek Theatre: The Greek Theatre: ConstructionConstruction

Performed in broad daylightPerformed in broad daylight No artificial light and a minimum of propsNo artificial light and a minimum of props No scenery, males acted, No scenery, males acted, only three actorsonly three actors

(masks)(masks) Violence took place off stage (chorus Violence took place off stage (chorus

informed audience)informed audience)

The OrchestraThe Orchestra Round or Round or

semi‑circular semi‑circular paved area paved area where the where the chorus sings chorus sings and dancesand dances

The word itself The word itself means “place means “place for dancing”for dancing”

In the center In the center of the of the orchestra was orchestra was a sacrificial a sacrificial altar altar

TheatronTheatron

“ “Viewing Viewing area” area” from from which the which the audience audience views the views the drama drama

SkeneSkene

Stage buildingStage building Wooden Wooden

construction with a construction with a flat roof in front of flat roof in front of which actors which actors performed performed

Usually represented Usually represented a palace a palace

Also used as a Also used as a dressing room and dressing room and storage area for storage area for props props

ParodosParodos Gangway leading into Gangway leading into

the orchestra over the orchestra over which chorus and which chorus and actors made their actors made their entrancesentrances Two parodoi, one on Two parodoi, one on

each side of the each side of the orchestra orchestra

ParodosParodos is also the is also the name of the songname of the song chanted by the chorus chanted by the chorus as they entered the as they entered the orchestra at the orchestra at the beginning of the play beginning of the play

Theatre of DionysusTheatre of Dionysus

Structure of Greek TragedyStructure of Greek Tragedy

a. a. ProloguePrologue: Spoken by one or two : Spoken by one or two characters before the chorus appears; characters before the chorus appears; usually gives the mythological usually gives the mythological background necessary for understanding background necessary for understanding the play.the play.

b. b. ParodosParodos: Song sung by the chorus as it : Song sung by the chorus as it first enters the orchestra and dances.first enters the orchestra and dances.

c. c. First EpisodeFirst Episode: First of many "episodes", : First of many "episodes", when the characters and chorus talk.when the characters and chorus talk.

Structure of Greek TragedyStructure of Greek Tragedy

d. d. First StasimonFirst Stasimon: At the end of each : At the end of each episode, the other characters usually episode, the other characters usually leave the stage and the chorus dances leave the stage and the chorus dances and sings a and sings a choral odechoral ode (stasimon). The (stasimon). The ode usually reflects on the things said ode usually reflects on the things said and done in the episodes, and puts it and done in the episodes, and puts it into some kind of larger mythological into some kind of larger mythological framework.framework. For the rest of the play, there is alternation For the rest of the play, there is alternation

between episodes and stasimabetween episodes and stasima

Structure of Greek TragedyStructure of Greek Tragedy

e. e. ExodosExodos: At the end of the play, the : At the end of the play, the chorus exits singing a processional chorus exits singing a processional song which usually offers words of song which usually offers words of wisdom related to the actions and wisdom related to the actions and outcome of the play.outcome of the play.

The Greek TheatreThe Greek Theatre Actors and chorus Actors and chorus

separatedseparated Conflict is conveyed in Conflict is conveyed in

dialoguedialogue

Greek TheatreGreek Theatre

Audience becomes involved with plight Audience becomes involved with plight of character, both emotionally and of character, both emotionally and physicallyphysically

Actors played many parts, using Actors played many parts, using masksmasks to change characters (gender, state, to change characters (gender, state, emotion, etc.)emotion, etc.) Enabled actors to play multiple rolesEnabled actors to play multiple roles

ChorusChorus

Chorus stood between Chorus stood between audience and actors:audience and actors: Presented initial problem of the Presented initial problem of the

charactercharacter Reacts to words and actions of Reacts to words and actions of

the actors on the stagethe actors on the stage Their reaction would essentially Their reaction would essentially

show the actors’ feelingsshow the actors’ feelings

Elements of Classical Elements of Classical (Greek) Tragedy(Greek) Tragedy

Greek tragedy and Greek tragedy and the notion of the the notion of the Tragic HeroTragic Hero were were defined by Aristotledefined by Aristotle Aristotle wrote his Aristotle wrote his

PoeticsPoetics about 50 about 50 years after the years after the death of Sophoclesdeath of Sophocles

Classical TragedyClassical Tragedy

Emphasized the Emphasized the significance of a choice significance of a choice made by the made by the protagonist(s), but which protagonist(s), but which was dictated by his was dictated by his (harmartia)(harmartia) and the gods and the gods

They choose incorrectly They choose incorrectly and they fall (usually die)and they fall (usually die)

Aristotle’s Definition of Aristotle’s Definition of TragedyTragedy

“ “An An imitation of actionimitation of action that is that is serious, serious, completecomplete, and of a certain , and of a certain magnitudemagnitude; ; in language embellished with each kind of in language embellished with each kind of artistic ornament; ... in the form of aartistic ornament; ... in the form of a dramadrama, not of a narrative; through , not of a narrative; through pity pity and fearand fear, effecting the proper , effecting the proper purgation purgation of these emotionsof these emotions.”.”

Analysis of DefinitionAnalysis of Definition

imitation of actionimitation of action imitation of real lifeimitation of real life

seriousserious elevated subject, elevated subject,

royal/aristocratic, royal/aristocratic, important, worth important, worth consideringconsidering

completecomplete beginning, middle, beginning, middle,

endend a logical wholea logical whole

magnitudemagnitude importance of eventimportance of event a great size or effecta great size or effect not minor!not minor!

Analysis continuedAnalysis continued

dramadrama acted, not toldacted, not told action was a process from beginning to endaction was a process from beginning to end in the conclusion, there is a recognition of truthin the conclusion, there is a recognition of truth

Pity and FearPity and Fear

Analysis continuedAnalysis continued

purgationpurgation idea of idea of catharsiscatharsis produced in the produced in the

audienceaudience release of pity and fear in the release of pity and fear in the

audienceaudience

Middle Ages Tragedy (1100-Middle Ages Tragedy (1100-1400)1400)

Rise of ChristianityRise of Christianity Christians forbidden to Christians forbidden to

attend theatre due to attend theatre due to moral status of those who moral status of those who performed and content of performed and content of playsplays Actors lived like gypsies (i.e. Actors lived like gypsies (i.e.

poor, nomadic, outcasts)poor, nomadic, outcasts) Developed “acceptable” Developed “acceptable”

drama (Bible stories – drama (Bible stories – nativity, resurrection, nativity, resurrection, etc.)etc.)

Middle Ages Tragedy (1100-Middle Ages Tragedy (1100-1400)1400)

Began to perform in church; due to Began to perform in church; due to overcrowding, moved outdoorsovercrowding, moved outdoors

Plays a way of telling Christian Plays a way of telling Christian Liturgy to illiterate populationLiturgy to illiterate population Mass conducted in Latin (most people Mass conducted in Latin (most people

did not understand Latin)did not understand Latin)

Middle Ages TragedyMiddle Ages Tragedy

Became more elaborate Became more elaborate (props, machinery, (props, machinery, cranes, trap doors, special cranes, trap doors, special effects)effects) Hell smoke, floods, fires, Hell smoke, floods, fires,

earthquakes, etc.earthquakes, etc. Plays had a moral/lessonPlays had a moral/lesson ““Tragedy” referred to a Tragedy” referred to a

narrative which recounted narrative which recounted how a person of high rank how a person of high rank fell to a low station in life, fell to a low station in life, because of misfortune or because of misfortune or their own errortheir own error

Middle Ages TragedyMiddle Ages Tragedy

Relation to Classical Relation to Classical TragedyTragedy

Very similarVery similar Stressed morality of play Stressed morality of play

(but, classical had no (but, classical had no religious overtones)religious overtones)

Most playwrights ignorant Most playwrights ignorant of Greek tragedy and of Greek tragedy and AristotleAristotle

The Renaissance (late 1500s)The Renaissance (late 1500s)Renaissance SocietyRenaissance Society ““Renaissance” means Renaissance” means

rebirthrebirth Occurred in both Occurred in both

England and ItalyEngland and Italy Upsurge in art, music, Upsurge in art, music,

science, literaturescience, literature ““Renaissance man” Renaissance man”

was one who was was one who was knowledgeable in all knowledgeable in all areasareas

Middle class risingMiddle class rising Stability in societyStability in society

Origin of Renaissance Origin of Renaissance TragedyTragedy

Italian RenaissanceItalian Renaissance Seneca (1Seneca (1stst century Latin century Latin

philosopher)philosopher) Introduced revenge, Introduced revenge,

retribution, murder, retribution, murder, assassination, violence, assassination, violence, mutilation mutilation on stageon stage

Soliloquies, asides, 5 Soliloquies, asides, 5 episodes (acts) also episodes (acts) also derived from Senecaderived from Seneca

Defining Renaissance Defining Renaissance TragedyTragedy

Hero has great worth and Hero has great worth and talent, but recognizes too late talent, but recognizes too late his errorhis error This self-knowledge comes too This self-knowledge comes too

late and is therefore useless in late and is therefore useless in averting disasteraverting disaster

Audience feels pity and loss Audience feels pity and loss for the hero despite hero’s for the hero despite hero’s actionsactions

Audience feels some relief Audience feels some relief (catharsis) at death that the (catharsis) at death that the hero no longer suffershero no longer suffers

Some form of peace and Some form of peace and stability in society is possiblestability in society is possible

Renaissance TragedyRenaissance Tragedy

Stories are no longer only Stories are no longer only religious or mythical in religious or mythical in originorigin

Shakespeare:Shakespeare: Plays mixed poetry and Plays mixed poetry and

proseprose All social classes All social classes

representedrepresented Emphasized man’s Emphasized man’s

hamartia as main cause hamartia as main cause of his demiseof his demise

Renaissance TragedyRenaissance Tragedy

Shakespeare:Shakespeare: Hero is identifiable, high social statusHero is identifiable, high social status Initially complex, but neither good nor evilInitially complex, but neither good nor evil Internal more than external influences Internal more than external influences

contribute to fallcontribute to fall Almost all tragic heroes dieAlmost all tragic heroes die His heroes realize their mistake just His heroes realize their mistake just

before they diebefore they die

1600s Tragedy 1600s Tragedy (not much happened (not much happened here)here)

11stst half much like half much like Renaissance tragedyRenaissance tragedy

22ndnd half half characterized by characterized by “heroic” drama“heroic” drama More formulated More formulated

rhyming verserhyming verse Rise of the middle Rise of the middle

class to become class to become suitable heroessuitable heroes

Influenced by Influenced by Aristotle’s Aristotle’s PoeticsPoetics

1700s Tragedy1700s Tragedy

Middle class hero Middle class hero gains popularitygains popularity No longer No longer

necessarily about necessarily about wealth and powerwealth and power

The hero does not The hero does not lose power or lose power or wealth because he wealth because he has little of bothhas little of both

Plays are sad Plays are sad stories about a stories about a common man and common man and his small lifehis small life

1700s Tragedy1700s Tragedy

Tragedy significant because hero is one of Tragedy significant because hero is one of us and suffers as we all do; audience us and suffers as we all do; audience identifies with heroidentifies with hero

Importance of piece previously defined by Importance of piece previously defined by power/positionpower/position, now , now spirit/intellectspirit/intellect

Why? Why? Theatre caters to audience; theatre became Theatre caters to audience; theatre became

more for the common man than the nobilitymore for the common man than the nobility People may have difficulty feeling sorry for rich People may have difficulty feeling sorry for rich

peoplepeople

1800s Tragedy1800s Tragedy

Similar to 1700sSimilar to 1700s Rise in “domestic Rise in “domestic

tragedy”tragedy” Henrik Ibsen – Henrik Ibsen –

main figuremain figure Wrote about middle Wrote about middle

class tragedy that class tragedy that grew out of social grew out of social problems poverty problems poverty and alcoholismand alcoholism

Modern Tragedy: 1900sModern Tragedy: 1900sSocietySociety World wars and A-World wars and A-

bomb have bomb have profound effect on profound effect on alienation of manalienation of man

Many become Many become disillusioned about disillusioned about formal religionformal religion

Modern Tragedy: 1900sModern Tragedy: 1900s

Feeling of man being on his own without a Feeling of man being on his own without a supporting society or God led to supporting society or God led to existentialexistential movement (Sartre, Camus):movement (Sartre, Camus): man must make his own meaning out of man must make his own meaning out of

his existence after acknowledging the his existence after acknowledging the absurdity of lifeabsurdity of life

life has no inherent meaninglife has no inherent meaning there is no Godthere is no God man is free, but man is free, but isolatedisolated

Modern Tragedy: 1900sModern Tragedy: 1900sChanges in Theatre, Changes in Theatre,

Perception, LiteraturePerception, Literature Playwrights began Playwrights began

dealing with more dealing with more controversial issues – controversial issues – obscenity, sexuality, obscenity, sexuality, blasphemyblasphemy

Deals with how man Deals with how man is a victim of societyis a victim of society

Actor no longer Actor no longer dominates stage, but dominates stage, but words become words become centralcentral

Modern Tragedy: 1900sModern Tragedy: 1900s

Language realistic and Language realistic and conversational; not poeticconversational; not poetic

Protagonist faces choices – all Protagonist faces choices – all equally unacceptable or distasteful equally unacceptable or distasteful and all potentially leading to and all potentially leading to disastrous consequencesdisastrous consequences

Changes in lightingChanges in lighting Realism taken to extremes with Realism taken to extremes with

surrealismsurrealism

SurrealismSurrealism

Fantastic imagery or effects that Fantastic imagery or effects that don’t seem to be very applicable to don’t seem to be very applicable to make something stand out that much make something stand out that much moremore E.g. A blood red rose in the middle of a E.g. A blood red rose in the middle of a

black and white garbage dump would be black and white garbage dump would be surreal as two things are juxtaposed to surreal as two things are juxtaposed to create extreme difference create extreme difference

Modern Tragedy: 1900sModern Tragedy: 1900s

Modern TheatreModern Theatre Protagonist is often a victimProtagonist is often a victim Society is to be blamed, not Society is to be blamed, not

protagonistprotagonist Not all protagonists die, some Not all protagonists die, some

just break downjust break down Some die without attaining Some die without attaining

truth or growth (self-knowledge)truth or growth (self-knowledge) Audience feels pain through Audience feels pain through

association and identification association and identification with characters and situationswith characters and situations

Similarity between classical Similarity between classical and modernand modern

SimilaritySimilarity They lead to a learning They lead to a learning

process of growth, process of growth, recognition, and recognition, and understanding understanding by the by the audienceaudience, not , not necessarily by the necessarily by the characterscharacters

Differences between classical Differences between classical and modernand modern

DifferenceDifference

FactorFactor ClassicalClassical ModernModern

Hero’s classHero’s class Nobility/Nobility/upperupper

AnyAny

ConflictConflict Against Against gods/fategods/fate

Against Against societysociety

DownfallDownfall God-imposedGod-imposed Self-imposedSelf-imposed

LanguageLanguage PoeticPoetic ProseProse

SocietySociety Ordered, Ordered, moralmoral

ExistentialExistential

ActorsActors 3 males – 3 males – max.max.

m/f - m/f - unlimitedunlimited

Conclusion…Conclusion…

3 main periods of 3 main periods of growth and growth and change in genre: change in genre: Classical (Greek), Classical (Greek), Renaissance, and Renaissance, and ModernModern

Should be able to Should be able to see evolution of see evolution of genregenre

Job well done…pat Job well done…pat yourself on the yourself on the backback