A Guide to Ancient Greek Drama (Blackwell Guides to by Ian C. Storey, Arlene Allan

By Ian C. Storey, Arlene Allan

This Blackwell advisor introduces historic Greek drama, which flourished largely 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 artwork types; the conventions of the gala's and the theatre; the connection among drama and the worship of Dionysos; the political measurement; 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)

Sample text

I’m asking just about everyone to vote for me. And don’t let the order of the draw tell against us, because I was drawn first. Keep this in mind and don’t break your oaths, but judge all the choruses fairly, and don’t behave like second-rate whores who remember only their last lover. This is a significant passage for the study of ancient drama (in particular, comedy) since it provides evidence for the existence of different sorts of audience, the oath of the judges, that the order of the plays was determined by lot, and that a poet could make last-minute changes to his play once he knew the order of production.

There are too many variations in the plot, characters, and tone of Greek tragedy for it to have come from ritual. By its very nature ritual is performed in the same way again and again. What matters for tragedy in particular is the variation from the pattern, not the pattern itself. Drama may certainly use ritual, however, and more recent criticism has concentrated on how various rituals, familiar to and taken for granted by the audience, may impinge upon the drama and contribute to our understanding of them.

I’ve never taken her to court or even had a word of private complaint to her. I just let her make her usual jokes that belong to the festival. For I know that no harm can come from a joke. At various places in the plays the gods and rituals of fifth-century Athens can be seen behind and beneath the texts, and one of the great issues of tragedy is the relationship between humans and gods. But Greek drama, like Greek myth in general, is more about human men and women.

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