6. THE THREE WELL-KNOWN GREEK TRAGEDY PLAYWRIGHTS
“Experience travel – these
are as education in themselves”.
- Euripides
7. “Always desire to learn
something useful”.
- Sophocles
THE THREE WELL-KNOWN GREEK TRAGEDY PLAYWRIGHTS
8. “Memory is the mother
of all wisdom”.
- Aeschylus
THE THREE WELL-KNOWN GREEK TRAGEDY PLAYWRIGHTS
9. t {Zat{Zrof thtzaneitznt Grtztzetz eon i ttzd of thrtztzt g p of drama:
Trag dy
• I
m
compounQ of two Gteek wotc:is, ntragos' ot n goat' anQn oc:ie'
ing song, tefetting to goats sactiticeQ to Dionysus before
..mances, ot to goat -skins wotn bythe petfotmets.
e, ttageQy was the most aQmitec:i type of play. It Qealtwith
fs anQ have an unhappy enQing, esp. one concerning the
e main character.
ot and introduced the use of masksand wascallecl as
cly".
tragi
clown
Thespis>
the"Fathe
18. r11e11reRof poMpey
• The building was a part of a multi-use
complex that included a large
quadriporticus (a columned quadrangle),
directly behind the sQn4e .ion -, an
theater stage enclosed
elaborately decorated background of
by the large
columned porticos with an expansive
garden complexoffountainsand statues.
• There werealso rooms that werededicated
to the exposition of art and other works
collected by Pompey Magnus
located along thestretch of
covered arcade.
19. e usual themes for Roman theater playswerechariots races,
a iatots, anc¼publicexecutions.
ans love<¼a gooc¼spectacle.
• love<¼to watch combat, ac¼mitec¼blooc¼sports a
n
c
¼
gl - orcompetition. The mote realisticthe violence, the
lease<¼Roman auc¼iences.
•Come
350 to
s werealso popular inthe Roman Theater from
anc¼women wereallowec¼to perform on stage.
20.
21. Me (
<t)Je ?'{llkTtie r eR !5CC c.e ]4 CO
• During the Medieval eta, theater performances were not allowe<I
throughout Europe. To keep the theater alive, minstrels, though
denounced bythe Church, performedinmarkets, public places anct
festivals.
• irhey travelled from one town to another as puppeteers, iugglers, story
tellers, dancers, singers, and other theatrical acts.
• These minstrels wereviewedasa dangerous and pagan.
• Churches in Europe started staging theit own theater
performances during EasterSundays with Biblical stories and events.
22. Me (
<t)Je ?'{llkTtie r eR !5CC c.e ]4 CO
• Eventually, some plays were brought outsicle the church clue to tHeir
portrayal ofthe clevil ancl hell.
• Example of this kine of play is the O
Mystere cl' Aclam or The Mystery of
Aclam'. The story revolves arouncl Aclam ancl Eve ancl encls with :the
aevil capturing anctbringing them to hell.
• Over the centuries, the plays revolvecl arouncl biblical themes from the
Story ofthe Creation to the l,qstJuclgment.
23.
24.
25.
26.
27.
28. - one ofthe most prominent supporters ofthetheatre.
1i e companies of actors were organize<! by aristocrats an<! petforme<!
sonally in many places. They were callee! professional players that
tforme<!on the Elizabethan stage.
• -..:..a--.-.bcx!uc (also known as Fertex an<! Portex) wasan English play an<!first
pe tme<! at the Christmas celebration in 1561; an<! petforme<! before
Tem
barri
• Autho
Eizabeth I on January 18, 1562 by the Gentlemen of the Inner
ne of the four INNS of court - professional associations for
·uctges in Lonclon)
otbocluc wereThomas Norton ancl Thomas Sackville.
29. Wi11ic)m hak p ar
• t e famous actor anel poet whoemergeel in this
p oel.
._....,eel on April 26, 1564 anel elieel on April
23, 6.
• He
anel
• asoften
anelthe"
n English poet, playwright anel actor
eel as the greatest writer anel
e whole worlel.
the Englanel's national poet
30. • s wotks consists of 38 pL:lys
eo anc Juliet
Ha et
Mid met Night's Dream
( leop
JuliusC
MuchA
• The fout greatest works of Tragedies
•!•Hamlet
•!•othello
•!•King Lear
•!•Macbeth
Nothing
31. Chr i toph{l;r MarloW
{l;
G...a
2
1
'
"
,
est wotks:
fMalta
34. Ttle P N l tl TRGe<Jvy y T t l M K
Y
C
J
v
heSpamshTrag di·:
OR . .
Hicronimo i.s mad agai.n•
Co iuil ! mencb /Jui u nd
I r llh' I rm:1 0 , Iii ·
be(
..: ( :_ ti
n Lmgl y
.,
r;i fbhc
"
38. B et qes Polonais in1573
• ---- first formal "court ballet' ever
■ was
to h
visiteq
King He
missioneq byCatherine qe Meqici
the Polish Ambassaqots who
for the enthronement of
olan4.
39.
40.
41.
42.
43.
44. • The concept of decorum (meaning right and proper audience behavior) was applied
in this period which means classical concepts and appropriate social behavior must
be observed.
• This period officially established just two types of plays, tragedy and comedy.
• They never mixed these together, and the restriction led to the use of the now well-
known pair of happy and sad masks that symbolize the theatrical arts.
Tragedies – portrayed the complex and fateful lives of the upper classes and royals.
Comedies – which were either public discourse or comedies of manners, tended to
focus on the lower ranks of society.
48. o Racine (1639 -1699)
►-
-
-
-
-
-
·
,
.
t gec:li n beloveet fot his
si ... _ ppto ch to ction
net the istic
rhythms net
Majot
--
1 •
'--
Phaeclta
49. • e first "spotlig
1
hrt" was useti in the U.S. quting1this
pe-- clnti wascallletlthe "L
imielig1
hit".
• The
T
legiti
Regullation Act of1043 banneq qtinking1 i
n
1
50.
51.
52.
53. or.Marie Hugo (1802 -1885)
M
ontemplations
.... encle clessiecles
Les
Not te Paris
known Hunch
Notte-Dame
as the
54. - -es Bizet (1838 - 1875)
• Thi French composer was a pianist anc! best
kno fot hisoperas.
• Com q the title tole for a mezzo-soprano
r
.d
1
inthe C
• Theope
Don Jose,
the charms
et of Carmen.
s the story of the qownfull of
· e solqiet who is sequceq by
· ling Gypsy, Carmen
55. t w tks:
Carmen1
La Prettesse, operetta (1854)
Le octeur Miracle, opera bo1uffe(1857)
., ,opio, opera bouffe (1859)
Lespe,,.....·ts de perles,opera (1863 1)
lva1
n1IV,
Laio1
llie fill
1
opera (unfim
r
ish
ied)
rthi,opera (1867)
Noe,opera
L'Atlesienne,
Diamileh, on
e scene (1872)
