The comedic and tragic masks commonly associated with drama have a long history as icons of the theatre. However, these masks also have associations with less tangible aspects of performance. While their raw function as performance aids seems obvious, closer inspection of ancient vase paintings and votive sculpture suggests the theatrical mask was closely linked to the ritualized metamorphosis that the Ancient Greeks perceived at the foundations of dramatic portrayal. This less-corporeal function positioned the mask not only as a symbol of the performing arts but also one of a transformational process that provided access to the divine. This symbolic value has evolved through the ages and remains significant today as a symbol of dramatic and metaphorical transformation.
Because they were fashioned of short-lived materials such as linen, animal glue, and plaster , no examples of the types of theatrical masks Greek actors would have used during the classical period survive as artifacts. Vase paintings from the time, however, present many depictions of actors and their masks in various forms to advise as to the mask’s use and appearance. One famous example of such a resource is the Pronomos Vase, a red-figure krater from Athens dated to the late fifth century BCE. This particularly striking work superficially depicts costumed actors holding their masks in preparation for a satyr play with Dionysos and Ariadne in attendance. Closer inspection, however, reveals additional depth and relevance to the scene. The seamless design suggests a relationship between the two sides of the vase, paralleling the duality at the basis of performance as a form of both art and worship. The viewer is invited to regard the work in the round and so may...
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...many ways, and will continue to be so for centuries to come.
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In Euripides’ tragic play, Medea, the playwright creates an undercurrent of chaos in the play upon asserting that, “the world’s great order [is being] reversed.” (Lawall, 651, line 408). The manipulation of the spectators’ emotions, which instills in them a sentiment of drama, is relative to this undertone of disorder, as opposed to being absolute. The central thesis suggests drama in the play as relative to the method of theatrical production. The three concepts of set, costumes, and acting, are tools which accentuate the drama of the play. Respectively, these three notions represent the appearance of drama on political, social, and moral levels. This essay will compare three different productions of Euripides’ melodrama, namely, the play as presented by the Jazzart Dance Theatre¹; the Culver City (California) Public Theatre²; and finally, the original ancient Greek production of the play, as it was scripted by Euripides.
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Delcayre, Celine. "The Greek Chorus Dynamic in Ancient and Contemporary Theatre." Sonoma.edu. N.p., 21 Mar. 2012. Web. 6 Nov. 2013.
The importance of costume in the theatre cannot be rated too highly, for it is not only an outward and immediately visible medium of expression for the actor himself but it is significant of the dramatic values which he is suppose to portray (Brooke, 1). The colors, texture and shape of a costume can create a feeling of the character that the actor may not be able to portray. There is not any definite information on what exactly the Greeks used for costumes because so much time has elapsed since the original records were taken. Most information is based on the different artifacts that were found, such as paintings and pottery. Sometimes hints of what was worn could be found in the plays themselves.
"Different Types of Greek Drama and their importance." PBS. Public Broadcasting Station, n.d. Web. 23 Nov. 2014.
Like any journey, it is necessary to begin with a single step – the evolution of lighting in theatre began with the resources available to the ancient Roman and Greek societies; sunlight and candles. As such, performances and events were held at the height of the day, so as to allow the most natural light to fill the stage. While this method successfully brought the stage to life and made the actors and scenery visible, it did little to create dynamics, establish mood, or manipulate the audience’s perspective and emotion. Rather than a creative tool, lighting was viewed as a solution to a problem – a product born out of necessity. Innovative uses of light were limited to grand demonstrations that often became the centerpieces of Greek and Roman theatre. For example, large burned houses graced center stage, but any other indications of lighting were strictly two-dimensional, painted on the backdrop. While this forced the audience to focus their energy and attention on the players and the action, it also limited their experience – without lighting t...
The large props on the stage were set up in such a fashion to look like Queen Clytemnestra’s chambers in the underworld. As the dancers reclined in their beginning positions on the sculpture designed by Isamu Noguchi the taunting of Agamemnon began.
One of the basic elements of theatrical production is costumes. In Oedipus the King, a 1984 movie adaptation of a prominent tragedy written by Sophocles in 429 BC, costumes provide a unique feel and version. The tragedy follows a tragic hero named Oedipus, who seeks to find the truth about the murderer of the late king, Laius. Unbeknownst to him, he is the murderer of his own father and marries his mother, Iokasta. Costume design in the movie offers an important meaning to the play. Each character’s costume suggests which class they are from, what they symbolize, and altogether imply what time or era the tragedy is set in.
Mimesis, the ‘imitative representation of the real world in art and literature’ , is a form that was particularly evident within the governance of art in Ancient Greece. Although its exact interpretation does vary, it is most commonly used to describe artistic creation as a whole. The value and need for mimesis has been argued by a number of scholars including Sigmund Freud, Philip Sydney and Adam Smith, but this essay will focus on the arguments outlined by Plato in The Republic and Aristotle in Poetics, attempting to demonstrate the different features of imitation (mimesis) and what it involves for them both. In Plato’s The Republic, he discusses what imitation (mimesis) signifies to him and why he believed it was not worthy of the credit or appreciation it was so often given. In Aristotle’s Poetics on the other hand, he highlights the importance of imitation not just in art, but also in everyday life and why imitation within tragedy is necessary for human development.
Theater is a natural outlet for our desire to hear and tell stories, and in some ways it is even more primal and powerful than the written word. At its worst, theater will merely bore; while at its best it will not only entertain but move and shape its audience. Two such genres of theater, or drama, have consistently achieved this effect. Tragedy, represented by the weeping actors’ mask, usually features the title character’s fall from greatness to ruin, guided by the gods or fate. Oedipus Rex, written by Sophocles, is the epitome of classic Tragedy, as defined by Aristotle (96-101). Here, Oedipus falls from kingship to blindness and exile. Drama’s other great genre, Comedy, is represented by the laughing actors’ mask. In Comedy the action is usually propelled by a problem or crisis of some sorts, but unlike tragedy it usually ends well. Lysistrata, written by Aristophanes, is a perfect example of classic Comedy. The farcical story line follows the title character, who rallies the women of Greece to withhold sex from their mates all in the good cause of ending war. At first glance these two genres would seem to have nothing in common with each other. Comedy entails laughter and good feelings while the audience will leave a Tragedy in tears. But the best of Comedy and the best of Tragedy will produce the same affect: catharsis. Catharsis is the purgation and purifying of the emotions, specifically fear or pity. (“Catharsis”) The plays that manage to produce catharsis in their audience are the ones that we return to time and time again. Although catharsis is one of the main objectives of Greek Tragedy (Jacobus 34), Comedy done well will shape and move its audience in the same way. These two classic genres use characters that are co...
Wilson, E., & Goldfarb, A. (2008). Theater: the lively art (6th ed.). Boston: McGraw Hill.
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...
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