By Ian C. Storey, Arlene Allan

This Blackwell advisor 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 historic 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 matters akin 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 size; 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)

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The chorus of initiates in Frogs may well be devotees of this cult of Dionysos. He is often seen as the Greek equivalent of the youthful consort of the Eastern Mother-Goddess (Adonis or Tammuz), whose death and rebirth both explains and enables the yearly cycle of agricultural fertility. 28 ASPECTS OF ANCIENT GREEK DRAMA In the wild rituals described above, the worshipers would lose their own identity, become possessed by the deity they worshiped, and thus achieve a sort of group mentality with one another.

It was one of the developments fostered by the tyrants, who ruled from the mid-540s to 510, a splendid festival of the city in honor of the god Dionysos, uniting all the rural festivals into one to be held within the city of Athens. The tyrants were clearly endeavoring to create a sense of national unity and cultural identity with such centralized institutions. For the City Dionysia, a myth was developed to document the progress of the god Dionysos from Eleutherai, a community on the northern border of Attica, to Athens itself.

For a long time these were thought to be representations of a local Italian low comedy called “phlyakes,” but it is now accepted that these reflect Athenian Old Comedy which, contrary to established belief, did travel and was reproduced in the Greek cities of southern Italy. Some of these vases show a raised stage with steps and the double door of drama, and are plainly illustrating an actual stage performance. 3), a vase from about 370 which depicts a scene from Aristophanes’ Women at the Thesmophoria (411); a vase by Assteas (ca.

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