Greek Tragedy and Comedy: Origins and Structure
Origins of Greek Theater
Aristotle, in his Poetics, indicates that tragedy originated with the soloists of the dithyramb. He also mentions a second source: early tragedies, with their humorous language and short plots, evolved from the satyr play. The word “tragedy” has been interpreted as “goat song.” Thespis is often considered the creator of tragedy. Aristotle attributes the origin of comedy to those who sang phallic songs, and explains the name “comedy” as deriving from “revelry song,” though a false etymology links it to “village.”
Staging in Greek Theater
Greek drama was part of the worship of the god Dionysus. Each author presented three tragedies and a satyr play. A choregos bore the expenses of the production. Actors wore solemn attire and high shoes called cothurni. They could represent multiple characters by changing masks. A chorus, composed of 12-30 people, was present, along with a coryphaeus (chorus leader). The scenography was simple, with action taking place outdoors. Rudimentary stage machinery was sometimes used:
- Ekkyklema: A turntable to display actions that had taken place inside.
- Mechane: A crane to introduce figures, usually divine, from above.
The circular orchestra, where the chorus stood, was located between the auditorium and the stage. The orchestra was accessed by walkways called parodoi. Actors changed in the scene building.
Greek Tragedy
Greek tragedy dramatizes a human conflict, always exemplified in a character from Greek myth. Mythological themes, originally the content of choral singing, became central. Dialogue emerged between the narrator and the coryphaeus.
Structure of Greek Tragedy
A Greek tragedy consisted of the following parts:
- Prologue: The part preceding the entrance of the chorus.
- Parodos: The song of the chorus as it enters.
- Episodes: Acts or scenes performed by one or more actors along with the chorus.
- Stasima: Songs of the chorus while standing still.
- Exodus: The final scene. Sometimes included the deus ex machina.
Authors and Works of Early Attic Tragedy
Early Attic tragedy is primarily represented by the works of three great tragedians:
Aeschylus
Aeschylus contributed to the final form of tragedy. His choruses have a defined role and are involved in the action. He favored artistic unity through trilogies. His language is impressive, using long lines, abundant epithets, and daring metaphors. His characters are more archetypal than individual, and divine justice is always fulfilled through men. Notable works include The Suppliants and the Oresteia trilogy (Agamemnon, The Libation Bearers, and The Eumenides).
Sophocles
Renowned for his beauty and skill in music and dance, Sophocles enjoyed great prestige. According to Aristotle, Sophocles added a third actor, introduced scenery, and increased the chorus from 12 to 15 members. He was a master of dialogue, using dignified language that avoided both excessive grandiosity and naturalism. His focus is on the individual, who must act and face the ultimate consequences. Sophocles’ heroes are complex, a mixture of good and evil. He is primarily a creator of characters. Notable works include Ajax, Antigone, and The Trachiniae.
Euripides
Popular opinion associated Euripides with the Sophists. His works include Medea, The Trojan Women, The Bacchae, and Hecuba. The interventions of the chorus are transformed into musical interludes. He reinterpreted old stories in light of the skepticism of the late 5th century BCE, showing a clear attraction to violent stories and strange passions. His main concern is the conflict within the minds of his characters, making his theater a form of psychological drama. The gods are often represented by Fortune, which strongly influences the fate of men.
Greek Comedy
(Further information on Greek Comedy could be added here, expanding on its characteristics and prominent authors like Aristophanes.)