By Ian C. Storey, Arlene Allan
This Blackwell consultant introduces historical Greek drama, which flourished mostly in Athens from the 6th century BC to the 3rd century BC.A broad-ranging and systematically organised advent to historical Greek drama. Discusses all 3 genres of Greek drama – tragedy, comedy, and satyr play. presents overviews of the 5 surviving playwrights – Aeschylus, Sophokles, Euripides, Aristophanes, and Menander, and short entries on misplaced playwrights. Covers contextual concerns reminiscent of: the origins of dramatic artwork kinds; 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. comprises forty six one-page synopses of every of the surviving performs.
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Extra info for A Guide to Ancient Greek Drama (Blackwell Guides to Classical Literature)
An inscription of 418 shows that two tragedians produced two plays each, while another of 363 gives the number of tragic poets as three. For comedy the hypotheses to Acharnians (425-L), Knights (424-L), Wasps (422-L), and Frogs (405-L) record only three plays. Evidence from two Roman inscriptions suggests that five comedies were performed at the Lenaia before and after the Peloponnesian War (431–404). The Rural Dionysia was celebrated in the various local communities (“demes,” 139 in the classical period) of Attica, and there is considerable evidence for the performance of dithyramb, tragedy, and comedy in at least fifteen of the demes, principally the larger of them such as Acharnai, Eleusis, and Ikarion.
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.
These include traitors to the state, those who like bad jokes, and: 24 ASPECTS OF ANCIENT GREEK DRAMA the politician who nibbles away at the poets’ pay, just because he was made fun of in the ancestral rites of Dionysos. Clearly the politician in question (identified by the scholiast as Archinos or Agyrrhios) had proposed reducing the misthos (“pay”) of the poets, no doubt because of economic constraints. The comic poet interprets this proposal as motivated by personal reasons, but it is an unequivocal statement that the poets did receive some financial support from the state.
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