Posted: May 24th, 2022

Ancient Greece Theater and Performance

Ancient Greece Theater and Performance

Abstract
Tragedies, comic plays, and satyr tales were the three genres of plays that the ancient Greeks created and presented on stage. Among these, the comedies and tragedies were the most prominent, and they have had the greatest influence on succeeding theatrical productions. From the 5th century BC onward, the ancient Greeks were intrigued by the inquiry of how tragedy and comedy first emerged in writing. While acknowledging that they were unsure of the exact beginnings of tragedy and comedy, several authors provided hypotheses about how they came to be and narratives about the persons who were believed to be the cause of their development.

Ancient Greece Theater and Performance
During ancient Greece’s tragic theater performances, the audience was represented and prompted to share their emotions. To understand and share the feelings, you must first comprehend and understand the scenario in which that other is finding themselves. Philosophically, tragic literature emphasizes the importance of comprehending the circumstance, which is consistent with philosophy. Historically, the ancient Greek poets did not believe that one could react emotionally to another without first comprehending their circumstances, ideally by actually experiencing a similar predicament, but if this was not possible, then by visualizing themselves in the other’s position. The concept of “with-knowing” is represented by the word sungnmosune, which comes from the source of the word “compassion.” While sungnme, the modern Greek counterpart of “pardon me,” still means “forgive me,” its etymology necessitates hearing the words “understand me” before it can be comprehended. An examination of ancient Greek performance from an emotional standpoint, the status of women in ancient Athens during the 18th century, and examples of ancient tragedy stories given in Ancient Greece are all topics covered in this paper.
It was discovered that even the most fundamental emotions, such as fear and pity, had an important cognitive component in Ancient Greece’s way of thinking. If you’re interested in sharing your feelings with others, one of the advantages of Greek cognitivism is that there is never any disagreement over whose emotions are being shared. In both the poem and its execution, one individual is the subject of each feeling. After every Greek tragedy, the audience is met with a chorus that expresses delight, sorrow, or grief in response to the events unfolding on stage. Moreover, because tragedy is what it is, the chorus frequently expresses anguish in the same way as the main protagonists do. Aristotle felt that the best tales elicit the most sympathy and dread from the audience and that the best characters elicit the greatest feelings of sympathy and dread on their behalf. Sympathy and worry, according to Aristotle, are both characterized by the presence of cognitive processes. They are not simply the reactions of passive recipients of emotional stimuli. Ultimately, the purpose of sad narrative design is to help the audience comprehend a situation while also experiencing the emotions that go along with it.
Women were discriminated against in Ancient Greece, particularly in Ancient Athens, based on their social standing, occupational status, or role, among other factors. In 1779, Karl Boettiger published “Were Women in Athens Spectators at Dramatic Performances?” to debunk a claim made by the 16th-century French scholar Casaubon that women in ancient Athens were present at theatrical performances in an attempt to disprove the allegation. As a result of this, Katz was motivated to write. During the first section, Katz compares and contrasts Boettiger’s three contributions, divided into three categories. Women’s theatrical attendance in Athens is also explored to trace the origins of the feminist argument back to its origins in the ancient world. Katz asserts that four movements impacted female theatergoers in Athens throughout the late 18th and early 19th centuries. Katz’s research was carried out to establish a German national theatre.
Especially noteworthy are the two 1830s love tragedies set in ancient Greece, which provide superb instances of ancient Greece performances. Thomas Noon Talfourd, an anarchist, is credited for writing them. The play Athenian Captive by Euripides is adapted here (Haymarket Theatre, 1838). The abolition of slavery and the ascension of Queen Victoria are the subjects of the two plays. They are rare examples of Greek theatre from the nineteenth century discovered in the United Kingdom. The importance of the republican William Charles Macready, Talfourd’s personal nonconformist Christianity, and the impact of Shelley and Bulwer are all critical considerations.
One such example of a performance in ancient Greece can be found in the narrative of “The Case of the Missing Mask.” Olwig begins the story by establishing the scenario, which is a comparison of two different cities. During the AAG 2008 Annual Conference in Boston, he gave a presentation titled “Practiced Architectures: Space, Performance, and Events.” The AAG meetings for the next year were held in Las Vegas, which was a rapidly expanding American town at the time. He noted a scarcity of public space, much alone a huge common. His next stop is architecture/landscape, followed by a dramatic performance and masquerade. Among the topics covered in this piece is the disappearance of Sir Dudley Carlton’s mask, staging a play as an expostulation with Inigo Jones, and a concluding debate about landscape and Pygmalion.
Additional evidence of ancient Greek theater performance can be found in the article “Telling Stories about Actors and Audiences: Recent Work on the Reception of Drama in Antiquity,” as well as in Eric Csapo’s “Actors and Icons of the Ancient Theatrical: Drama and Healing in Ancient Greece and Contemporary America,” both of which are published in the journal Dramatic Literature. The essay discusses the books “Actors and Icons of the Ancient Theater” by Eric Csapo and “Performance and Cure: Drama and Healing in Ancient Greece and Contemporary America” by Karelia V Hartigan are available on Amazon. A new perspective on ancient plays and their reception is offered with each volume. Actors and Icons, a play by Csapo, posits that theatre can be used as a therapeutic tool. Perris reexamines the role of the actor in contemporary culture. Whether we agree with it, it’s a beautiful story to behold.
In conclusion, the history of theater and performance in ancient Greece dates back to the 5th century BC, with tragedy and comedy serving as the primary components of the performances. The performers placed a strong emphasis on emotion, particularly anguish and fear. Ancient Greek theater performances were characterized by the presence of a chorus that showed emotion and allowed the audience to identify with it. However, the debate about whether or not women were permitted to participate in theater performances in Ancient Athens continues, even though it is thought that these women were discriminated against based on their social standing and the roles they played. Theatrical performances in Ancient Greece served as the foundation for many later types of theatrical performances worldwide.

References
Hall, E. (1997). Talfourds ancient greeks in the theatre of reform. International Journal of the Classical Tradition, 3(3), 283-307. https://doi.org/10.1007/bf02686392
Katz, M. A. (1998). Did the women of ancient Athens attend the theater in the eighteenth century? Classical Philology, 93(2), 105-124. https://doi.org/10.1086/449382
Olwig, K. R. (2011). Performance,therialspace and the practice of landscape/architecture: The case of the missing mask. Social & Cultural Geography, 12(3), 305-318. https://doi.org/10.1080/14649365.2011.564735
Perris, S. (2010). Telling tales about actors and audiences: recent work on the reception of drama in antiquity Actors and Icons of the Ancient Theater, Eric Csapo Performance and Cure: Drama and Healing in Ancient Greece and Contemporary America, Karelia V. Hartigan. Scholia: Studies in Classical Antiquity, 19(1), 135-139.
Woodruff, P. (2016). Sharing emotions through theater: The Greek way. Philosophy East and West, 66(1), 146-151. https://doi.org/10.1353/pew.2016.0010

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