THEA 141 Midterm Exam Review Sheet

Ava Rose Paul

Section 141-001

1. In your estimation, is Hadestown a tragedy? Why or why not? Support with specifics
from the show. How does it compare to the original myth? Which one offers you the
greater catharsis? Why?

The definition of a tragedy from Aristotle is, “A tragedy, then, is the imitation of
an action that is serious, and also, as having magnitude…” The choices that Eurydice and
Orpheus pus made, whether it is signing a deal with Hades or turning back, they are both
serious choices that have serious weight and consequences.
Hadestown is a tragedy to me because of the Catharsis at the end of the play. Catharsis is,
“The tragic pity and fear may be aroused by the spectacle…” Yes, the characters will live
on forever, but Orpheus and Eurydice are alone at the end of the play. The way the music
ends as Orpheus turns around, it breaks my heart every time. Over the time of history in
theatre, the greatest Catharsis is living a life without love and Orpheus and Eurydice
don’t have their way in the end of this play…Catharsis. However, in the original myth
they add a nice ending of when Oedipus dies he walks along the side of Eurydice in the
underworld. The ending is much more happier, while the musical lets the audience sit in
the tragedy of Oedipus looking back and giving into his human instincts. The winner of
greater catharsis is without a doubt Hadestown, because the catharsis at the end of the
play.

2. What does Bharata’s Natyasastra tell us about Sanskrit Drama? What was the role of
drama in the Classical Indian tradition? In what way(s) does it overlap with the Greco-
Roman tradition? Where does it diverge?

Bharata Natyasastra tells us that Sanskrit Drama, the theatre, is sacred. The plays
are not only entertainment but gives advice and moral lessons; therefore, essential to their
identity as a people. The role of drama was meant to keep the people from making wrong
decisions and to be wise about the way they choose to live their life. We also learn that
the costumes and the colors painted on actors, very detailed because things had to be
specific and true for the audience to watch. Bharata says, “Never start a show without
worshipping the stage” and this shows how important religion was during this time.
Natyasastra overlaps with Greco-Roman tradition because there is a level of decorum
being shown at the plays; meaning how men and women should be represented. In ways
that they are different, the Natyasastra gives a section for actors’ training: the 36 varieties
of facial expressions.

3. What are the similarities between Greek and Roman theatre/performance? How did
Rome build upon the Greek model? Where did Rome diverge from Greece? What was
valued in Rome that was not in Greece?

Greek and Roman theatre/performance are alike because the characters must be
appropriate (decorum), both have an interest in death, use theatrical spaces, and catharsis
is always the goal. Rome made the Greek model into pure entertainment and increased
spectacle. Rome diverged from Greece because it was no longer mandatory to see theatre
for a moral purpose, it became a blood bath; a performance rather than a play. In Rome
seeing live death was valued more than in Greece: death was told to the audience through
a messenger.

4.What was the role of women throughout this era in history? Remark on at least three
ways in which women were included or excluded from the societies we have discussed
thus far.

The role of women throughout this era in history is pretty minimal, but
nonetheless there are still some parts where women broke through. In Rome women were
pantomimes, miming and dancing with no voice, and were truly the butts of all the jokes.
Also, there were Vestal Virgins, a young girl would be selected to keep a candle from
going out for 30 years, but she was able to have rights because she was seen as a
respected figure, holy. In India, the women were allowed to act with men, but if a man
was better suited for the role of a woman, then he would play it. Then after the Dark Ages
Hrosvita wrote the play Martydom of the Holy Virgins, she is the first female woman
play wright; therefore some women could read and write during this time.

5. QUESTION B (FOR TUESDAY/THURSDAY SECTIONS): What do cults show

us about the crossroads between the theatrical and ritualistic? How does performance
contribute to their appeal? Describe one example from our class discussion or your
own research.

Cults prove that rituals and theatre are so closely related because they both offer
salvation. Going to the theatre I get a sense of feeling alive and filled to the brim with
joy and people feel that way about going to church too. The people that don’t have
that outlet, they are vulnerable to cults because they offer that safety net, a sense of
community, and salvation. Performance contributes to cults’ appeal because spectacle
lures in the vulnerable. I did my research on the KKK, and even their little cards that
they pass out in communities say, “The law abiding citizens of your community can
sleep in peace knowing the klan is awake!” This shows people that they are a
community, but not only that but they are awake, they are more aware than others,
which is how they lure people in. Even when the KKK do their ceremonies they use
fire and a huge cross, which stretches back to rituals that used fire to cleanse the earth
and that is what the Klan is still doing. It’s sad to see how people can be so lonely in
the world to turn to a group that will only hurt them, but they don’t think they can
turn anywhere else.