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 creation 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 corresponding to: the origins of dramatic artwork varieties; the conventions of the fairs 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 plays.
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Additional info for A Guide to Ancient Greek Drama
Pentheus at Thebes is the ASPECTS OF ANCIENT GREEK DRAMA 27 best-known example (the theme of Euripides’ Bacchae), while Aeschylus wrote a tetralogy about Lykourgos of Thrace, who also opposed Dionysos and was destroyed. The daughters of Minyas in Orchomenos and of Proteus in Argos refuse to accept the rites of Dionysos and are punished with madness, made to kill their own children, and are transformed into animal guise. The Homeric Hymn to Dionysos tells how pirates attempted to kidnap the god, thinking him a prince worthy of ransom, and how the god transformed their ship into vines and the sailors into dolphins.
The theater at Epidauros was built in the fourth century and was intended to be a stateof-the art construction. Comparing the theater at Epidauros with that in fifth-century Athens is like a putting a modern domed stadium beside an ivy-clad baseball park or terraced football ground. Even when we go to Athens, the remains of the later structures dominate what we see and it is with difficulty that we make out the layout that playwrights, performers, and spectators had to work with in the fifth century.
Cornford, The Origin of Attic Comedy (Cambridge 1914). 32 ASPECTS OF ANCIENT GREEK DRAMA as part of his cultural heritage. For example, the choral ode at Hippolytos 1104–50 is unusual in that the principal chorus of serving-women sings with the subsidiary chorus of young huntsmen, first alternately and perhaps together in the last strophe. This is a play very much about love and the relations between male and female, and this song may well relate to the ritual songs by men and women at weddings, ironic in that Hippolytos wants no part in Love, even more ironically so in that Hippolytos will be honored by brides on their wedding eve.