Beyond Their Time

Greek Theater
(Script for Introduction to Theater Arts: Short Documentary)

Submitted by:
Delfin, Aira V.
Javate, Ma. Angela L.
Manaloto, Camille Marie L.
BAC 3-2

Submitted to:
Prof. Maychell B. Jastia

November 12, 2020

Rationale
Ancient Greek era lived beyond their time. History of the Greeks laid the stepping stones
for our society today. The Greeks made important contributions to civilization through
philosophy, mathematics, astronomy, and medicine. The Greeks were known for their
sophisticated sculpture and architecture. Literature and theater was an important aspect
of Greek culture and influenced modern drama.
Greek theater is still one of the most important and long-lasting theatrical influences in
the world, theater was a manifestation of specific national features and a representation of a
developed theatrical culture. It first appeared in the most progressive city of Greece – Athens and
expanded to the entire ancient world. Even now, Greek theater is an exceptional culture of
performance, which is more conventional than free or improvised. Greece originated three of the
most important genres in the theatric art and constructed the basic structure of the theater. It was
the highest level of cultural and artistic development since theaters were the places of ethical
pleasure and beauty.
All citizens of the ancient cities could admire performances because of the perfect
construction of the open air building. The Western world originated the majority of the theatrical
norms and terms by further developing Greek concepts. The ideas of ancient citizens spread
around the world. This paper aims to prove that, although the traditional Greek theater underwent
many transformation during its development, it is based on the conventional system of rules.
Ancient Greeks have lived beyond their time, and remnants of their innovations still live with us
today.

Treatment
In this short documentary, the group will be using a narrative approach by using a
storytelling like treatment to be able to capture attitudes, perceptions, and connections that can
be used to express the thoughts and knowledge of the authors who will be presenting the
documentary, and to further help the audience enhance their imagination through visuals
cues. The group will also incorporate a documentation including some clips from the experts to
highlight the concept of the assigned topic given and to deliver the script in an engaging,
interesting, and compelling way for the audience to see. The short documentary will be using the
English language as an instrument of expressing the authors’ thoughts and ideas to the viewers
and audiences of this short documentary.

Introduction
Hi, I have a question for you, have you ever lived beyond your time? No? But why?
Anyway, of course it is a no, because first, it is not scientifically possible, second, it’s such a
superficial thought. But why did I ask that? Because that is what we are going to talk about.
Hello again, everyone, pretty much at this point of our lives we’re studying the art of
theater, I guess it is safe to say that we have shared experiences of being awed in the construction
of Greek architecture, not only in their columns, but also in their enormous mass gathering place,
the amphitheaters. Which is the place that gave birth to the golden age of civilization. And with
that let’s now relived the birth of Greek theater.

Origin of Greek Theater

Before we go into details, I want you to first imagine this following scene: You are sitting
in a dark, fairly crowded large room. There are hundreds of other people, in hundreds of other
seats surrounding you. In front of you, there is a large stage, with people acting out a play.
Lights, music, and different sound effects set the mood of the play for you to understand more
clearly what is going on. With these certain conventions, viewer can get a real grasp of a story in
which several actors are trying to portray. However, it hasn’t always been this easy to enjoy a
play in a theater. Theater and plays go back as far as BC times. In the Greek theater, the
conventions are very different.
It all started later in the 6 th century, the City of Dionysia was established, a festival of
entertainment came into picture where competitions in music, singing, dance, and poetry was
held. Unique Greek performances, which were performed hundreds of years ago, were put on to
please the god Dionysus. But what made it so popular during that time? When the concept of
advertisements is still non-existent? Well, it was through the power of word of mouth. Verbal
communication was of higher value than writing during that time. Before they were called
playwrights that “writes”, they were first became storytellers that tell stories orally. Through the
exchange of ideas and collaborative storytelling, they were able to emit stories that are ought to
be played for the public consumption.
But how did it eventually evolves into playwriting and how is it related with the birth of
theater?
In the 6th century BC a priest of Dionysus, by the name of Thespis, introduces a new
element which can validly be seen as the birth of theater. He engages in a dialogue with the
chorus. He becomes, in effect, the first actor. Actors in the west, ever since, have been proud to
call themselves Thespians. According to a Greek chronicle of the 3rd century BC, Thespis is also
the first winner of a theatrical award. He takes the prize in the first competition for tragedy, held
in Athens in 534 BC. Theatrical contests become a regular feature of the annual festival in
honour of Dionysus, held over four days each spring and known as the City Dionysia. Four
authors are chosen to compete. Each must write three tragedies and one satyr play (a lascivious
farce, featuring the sexually rampant satyrs, half-man and half-animal, who form the retinue of
Dionysus).
The performance of the plays by each author takes a full day, in front of a large number
of citizens in holiday mood, seated on the slope of an Athenian hillside. The main feature of the
stage is a circular space on which the chorus dance and sing. Behind it a temporary wooden
structure makes possible a suggestion of scenery. At the end of the festival a winner is chosen.
Wealthy citizens would sponsor plays by paying a tax called the choregia. And just like
Pisistratus, the tyrant who established the 'City Dionysia' to enhance his own popularity, many of
these wealthy patrons hoped the success of the play they sponsored would provide them with a
way into politics.

The theater plays

The first plays were performed with just one actor, called a protagonist and a chorus of
people who helped him to tell the story. However, throughout the 5th century BC playwrights
continued to innovate. The playwright Aeschylus added a second speaking role, called the
antagonist, and reduced the chorus from 50 to 12. His play 'The Persians', first performed in 472
BC, is the oldest surviving of all Greek plays. His pupil, Sophocles went on to add a third actor,
while Euripides added both a prologue, introducing the subject of the play, and the deus ex
machina, a divine figure who wrapped up any loose ends at the close. These poets would usually
recite their poems in the street, later on it gained a wide number of audience and the stories they
tell paved way to different performances. While the actors had to project their voices even more,
and they used numerous masks, to reveal different characters.
Ancient Greek pioneered several forms of entertainment. The comedy, tragedy, and the
combination of both known as satyr or tragicomedy.
The comedies are comprised of stories that makes people laugh. The actors portray real
life situations and make fun of it. Although they make fun of how people live, they refrain from
humiliating the well-known persons such as the officials of their time. Comedy was likewise a
significant piece of ancient Greek theater. Nobody is very certain about the beginnings of
comedy, yet it is said that they got from impersonation. All comedies of note during this time
are by Aristophanes. Aristophanes, who contended in the significant Athenian celebrations,
composed 40 plays, 11 of which survived- including the most questionable bit of writing to
originate from antiquated Greece, Lysistrata, and a clever story about a resilient lady who drives
a female alliance to end the battle in Greece. Albeit just 33 misfortunes and 11 comedies stay
from such an inventive period, the Greeks were answerable for the introduction of dramatization
in the Western world.
The Greek tragedy was first considered to be a laudatory song to the god Dionysus. The
song had certain rules connected to it. Thus, it was transformed into a genre with strictly
prescribed conventions. It gave a reason for the tradition of outdoor performance, because a
tragedy performed in the open air environment could serve as a religious experience, which
connected people with the sky through the air. While tragedy deals with heavier stories grounded
upon themes of love, loss, pride, power, and even relationship between a mortal and a god.
Playwrights used moral lesson within the show to connect with the viewers and feel the world
they lived in. Three notable Greek tragedy dramatists of the fifth century are Sophocles and
Euripedes. Aeschylus, who was a competitor at the City Dionysia around 499 B.C., kept in touch
with the absolute most seasoned tragedies in the world. A couple of Aeschylus' plays have
survived however they incorporate The Persians and the Oresteia trilogy. Aeschylus is ascribed
to acquainting the second actor with the stage. Another Greek playwright was Sophocles,
Aristotle considered him to be the best ever in his field. He introduced the third actor, an
innovation which enlarged the scope and dramatic impact of the play. With just seven of his
tragedies - including the still-well known Antigone, Electra, and Oedipus Rex- - have survived.
Sophocles won 24 challenges for his plays, never putting lower than the second spot. His
commitments to theater history are many: He acquainted the third entertainer with the stage,
fixed the number of melody individuals to fifteen, and was the first to utilize scene painting.
Euripedes was another prolific dramatist who is accepted to have composed 90 plays, 18
of which have endured, including Medea, Hercules, and The Trojan Women. He was frequently
reprimanded for the manner in which he addressed conventional qualities on the stage. Euripedes
additionally investigated the mental inspirations of his character's activities which had not been
investigated by different creators. His plays were utilized as examples for different creators for a
long time after his death. Since tragedies carry heavy themes, in between the performance a short
play was performed to make fun of the characters’ plight and somehow light up the mood. In
these performances, artificial light was impossible and there were no footlights to illuminate the
faces of the actors. Spectators had to have a great imagination to create a mood themselves.

Why do they wear masks?

Commonly, the actors play more than one character. Therefore, they use mask to switch
characters to not confuse the audience. Since during this time, only men could act, wearing of
mask would allow them to play the female parts. The act of drama and putting up a play was
very much a religious practice, thus they also wear mask as part of honoring Dionysus,
worshippers wanted to leave behind their own lives and become one with the persona of their
characters. Aside from the actors, the choir and orchestra also wear matching masks to imply that
they are collectively one character and to fit the aesthetics of the scene. Mask also made it easier
to perform as God or Goddess because the masks are crafted in their image, thus any human
could play any god if they have the mask.
How were the masks like? Masks were made of light weight and natural materials such
as cork, wood, linen, and sometimes animal or human hair. Masks were lifelike in tragedies,
were actors wear dark and sorrowful masks while for comedy, they wear bright and cheerful
masks. Who are beyond those masks, if you may ask, well, unfortunately, it was all men. All
actors that perform on stage were men. Greek actors were also able to incorporate sound effects
such as the sound of rain, horses, lighting, and they would even use real fire to enact real-life
battle scenes. The actors do not only perform verses, but they also think of every possible way to
bring the event to life. Women on the other hand were forbidden to be part of performance
because they are viewed as having no important role outside the realm of their home, and that
they are inferior to men.

Women as actors in a theater play

The Greek believed that it is dangerous for a woman to perform on stage, thus men
perform their character to neutralize the “danger”. While women were not allowed to perform,
there are still women characters, but it was all conceived by men since all ancient Greek
playwrights were also men. The actors wear costume that will make them appear feminine such
as wearing wooden chest plates, white stocking, and wig so they would look like a woman at a
distance.
Women would certainly have had a role to play in the holy procession and would have
been given a share of the rare and delicious animal sacrifice. Additionally, women were
generally a vitally important part of most Dionysian rituals in their official status as his
Maenads/Bacchae (specific female acolytes). Beyond this, things get a little sketchy, as reliable
evidence for Athenian women (their lives being private, domestic and illiterate) is scarce.
However, we do have reason to believe women were allowed to attend dramatic festivals even if,
like in Shakespearean London, they were not permitted to act in them. We look to the comic
masterpiece of Aristophanes, The Frogs to confirm this: ‘Every decent woman or decent man’s
wife was so shocked by plays like Euripides’ Bellerophon that she went straight off and took
poison’. There is a school of thought that says women were perhaps allowed to attend tragedies,
but not comedies.
The main argument for women being excluded from comic shows is that comedies would
have been a ‘bad influence’ on the ‘easily susceptible’ (i.e. women), whilst tragedies had an
important moral message to teach. This, however, does not hold up to closer scrutiny. In
Aristophanes’ comedies the women behave no worse (and usually better) than the men, whilst in
tragedies such as Medea we see a woman kill her babies. Additionally, in Agamemnon we see a
woman kill her husband, and in Electra we see a woman kill her mother and display incestuous
feelings towards her father. As theater expanded in a variety of different directions, women's
importance in the theater was also expanded. There's no question that women are a major part of
theatre today, participating in all kinds of ways. But there was not an easy path that led to this
point. It's unfortunate that theater has historically been unfair to women.

The theatron
These plays were done in an amphitheatre, theater buildings were called a theatron.
While we associate many features of modern theaters with their Greek counterparts, many
features of the theatrons of Hellenic times were vastly different. The theatron was always an
outdoor space made up of 3 distinctive sections; the skene (our modern stage), the orchestra, and
the audience.
The structure of the audience area was always tiered circular seating that rose higher and
higher so those at the back of the audience could view the action on the skene. This was called an
amphitheatre, a structure that allowed for excellent acoustics enabling those at the very back to
hear the action clearly. Modern theaters carry on very similar structures – our audiences surround
the stage in a semi-circular arrangement, in ascending rows to allow those viewers at the back of
the theater to watch the actors clearly.
Contemporary theaters also allow for space for an orchestra as ancient Greek theaters did.
Some modern theaters also have domed ceilings for improved acoustics, so that projection was
very loud, and the actors could be heard all around. The actors were less active and effected less
emotionally but still with their costumes, masks and roles, they belonged to the characters rather
than to the audience, today, we are accustomed to a sharp division between the dark world of the
auditorium and the over bright world of the characters.
But given the setting of amphitheater, and its spectators mounting up to not more than
15,000, how do actors play their role without compromising the quality of their voice and
performance? It was all because of how they built their open theaters. For the ease of
construction, they built it in hillsides which explains why the construction is in a slope. The
corrugations on the structure of the seat act as acoustic traps were suppresses low frequency
voices and reflect high frequencies towards the audience that enhances the voice quality, it filters
sound waves to emphasize certain frequencies. Nonetheless, the amazing science behind it is also
supplemented with Greek actors’ voice projection which they were trained to do so. Overall,
their talent and the science behind the construction of their theater enable the spectators to enjoy
their plays even up to the last row. And these are beyond the consciousness of ancient Greek
during their time, amidst the limitations of knowledge in science and engineering, they were able
to create something that is beyond their time.
This theater tradition persisted for many years and would continue into the 20th century
in some places. During this time introductions to characters are made, exposition is given, and a
mood is established. The final scene is called the exodus when all the characters as well as the
chorus depart. Theater became embedded in ancient Greeks’ lifestyle; it has become an
important part of their citizenship.
Documentation
Above all this information, you may ask, why are they so interested in performing and
attending performances?

Let me call our friend Oliver Taplin from University of Oxford

https://www.youtube.com/watch?v=0-nlnIRMPvk

Time stamp: 6:16-6:37; 9:02

The stories, aside from entertainment, was deemed as something that makes people a
better citizen because of moral lessons from the play. What is the essence of wearing the masks?
https://www.youtube.com/watch?v=rVDeCsFn_9U

Time stamp: 11:49-12:06

Greek theaters values vague body movements for a more effective impersonation and
representation of each character in the play. Also the mask functions as a symbol of participating
in an activity for Dionyus. According to our friend, only about three actors were allowed to
perform during the early years of theater, and not only because only skilled people can do so, but
also having a couple or trio travel from place to place, switching masks and roles, was very
efficient. It saved money, time, and personal and allowed a few very talented actors to use their
vast talent. So, when does theater takes place? https://www.youtube.com/watch?
v=aSRLK7SogvE&t=16s

Time stamp: 1:03- 1:24; 1:35- 1:57

It is an annual celebration and since during this time there still no sense of currency,
every competition is all about gaining glory and being remembered.
 Legacy of Ancient Greek Theater: http://www.cambridgeblog.org/2013/12/paul-
cartledge-on-the-legacy-of-ancient-greek-theatre/

Life would be very strange without plays and theater. So many jobs and careers have
been made today from plays and theater. Broadway is a big example of this with its many actors,
producers, musicians, stage hands, and many more careers that all wouldn't have been started
without a small festival honoring Dionysus in Athens. Theater today is a common, enjoyable past
time and a creative outlet. The world wouldn't know what do for a past time without it. If actors
and theater weren't created, there wouldn't be any television shows, movies, musicals, and plays.
Greek theater has influenced every one of these main parts of everyday life!

Conclusion
In conclusion, Greek theater has influenced and benefited us so much today. If this legacy
wasn't created, life and society would be very different from what it is today. What would you be
doing with your life right now if it wasn't for the creation of Greek theater?

Given the limitations of technology and scientific discoveries during the earliest time, the
Greeks have proved that innovations can be done without much of a complexity- that a simple
interaction and desire can build something that is still celebrated even in contemporary times.
Without these innovations, the culture of art would not proliferate. Without these, we would have
no stories to read and stories to tell, performances to watch and even to participate. We can never
know how art could depict reality if it is wasn’t because of comedies that mirrored the daily life
of ancient Greeks, without tragedies we can never know what sorrow feels like, and how satirical
performances can lift someone’s feeling.
Adventure, brilliance, invention, romance and scenic effect, together with delightful
lyrics and wisdom, were the gifts of the Greek theater. These conventions strongly affected
subsequent plays and playwrights, having put forth influence on theater throughout the centuries.
The benefits of both ancient and present day theaters are endless. But it’s all in the eye of the
beholder, as many plays have to be, in order to be appreciated to the highest degree.
References

Carina, B. (2020, September 7). Ancient Greek Drama & the Theater. TheaterSeatStore Blog.

https://www.theaterseatstore.com/blog/ancient-greek-theater

Catwright, M. (July, 2016). Ancient Greek Theatre. Retrieved from

https://www.ancient.eu/Greek_Theatre

Cartwright, M. (2020, October 28). Greek Theatre Architecture. Ancient History Encyclopedia.

https://www.ancient.eu/article/895/greek-theatre-architecture/

Chao, T. C. (2007, April 5). Mystery of Greek Amphitheater’s Amazing Sound Finally Solved.

Live Science. https://www.livescience.com/7269-mystery-greek-amphitheater-amazing-

sound-finally-solved.html

Englert, W. (n.d). Ancient Greek Theater. Retrieved from

https://www.reed.edu/humanities/110Tech/Theater.html

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https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/beginners-

guide-greece/a/introduction-ancient-greek-art

Griffin, Jasper. (2007, March). Greek Tragedy: Why Do We Still Care? Retrieved from
 http://www.getty.edu/visit/events/griffin_lecture.

How Theater in Ancient Greece Evolved. (n.d.). Greek Boston. Retrieved from

https://www.greekboston.com/culture/theater-evolved/

Katz, B. (2017, October 24). The Acoustics of Ancient Greek Theaters Aren't What They Used to

Be. Smithsonian Magazine. https://www.smithsonianmag.com/smart-news/acoustics-

ancient-greek-theaters-may-no-longer-be-so-great-180965360/

Masks in Greek Theatre. (n.d.). History of Greek Theatre. Retrieved from

https://historyofgreekdrama-rubybourke.weebly.com/masks-in-greek-theatre.html

Potter, B. (July, 2018). Ancient Origins. Retrieved from

https://www.ancient-origins.net/history-ancient-

Thespis, Athens, and the Origins of Greek Drama: Crash Course Theater #2. Retrieved from

https://www.youtube.com/watch?v=VeTeK9kvxyo

Who Watched the Ancient Greek Plays, and How Did the Seating Show Social Class? (n.d.). The

Origin of Greek Masks. https://msbowsalotsmaskparty.weebly.com/blog/who-watched-

the-ancient-greek-plays-and-how-did-the-seating-show-social-class

Women in Theatre: A Historical Look. (2019, May 6). NC

Theatre. https://nctheatre.com/blog/women-theatre-

historical-look

Authors Background

Dr Lucy C. M. M. Jackson
ORCID profile
Assistant Professor in the Department of Classics and Ancient History
Member in the Institute of Medieval and Early Modern Studies
Contact Dr Lucy C. M. M. Jackson (email at lucy.c.jackson@durham.ac.uk)

Doctoral Supervision
I'm interested in working with doctoral researchers on any of the following topics:

 ancient Greek tragedy, satyr play and comedy in the Classical period (c.500 - 323 BCE)
and their contexts 
 Plato, Aristotle, and theories of performance
 musical and non-dramatic performance in the ancient Mediterranean
 the reception of Greek drama in the early modern period
 the reception of Greek drama in the 20th and 21st centuries

Research Interests

 Greek tragedy
 Greek drama in the Classical period (c.500-323 BCE)
 Ancient Greek choral performance
 Ancient Greek literature
 Classical Receptions of the 21st century
 Theatre history

Publications
Authored book

 Jackson, Lucy C. M. M. (2019). The Chorus of Drama in the Fourth Century BCE.

Presence and Representation. Oxford: Oxford University Press.

Chapter in book

 Crawforth, Hannah & Jackson, Lucy C. MM. (2019). Greek Tragedy on the University

Stage: Buchanan and Euripides. In Gathering Force: Early Modern British Literature in
Transition, 1557–1623. Poole, K. & Shohet, L. Cambridge University Press. 340-355
 Jackson, Lucy C. M. M. (2018). Knowledge Exchange and Classical Outreach.
In Forward with Classics Classical Languages in Schools and Communities. Musié, M.,
Holmes-Henderson, A., Hunt, S. & Searle, E. Bloomsbury. 33-36.
 Jackson, Lucy C. M. M. (2016). Greater than logos? Kinaesthetic Empathy and the
Chorus in Plato’s Laws. In Emotion and Persuasion in Classical Antiquity. Sanders, E. &
Johncock, M. Franz Steiner Verlag. 147-161.

Journal Article

 Jackson, Lucy C. M. M. (2020). Proximate Translation: George Buchanan's Baptistes,

Sophocles’ Antigone, and Early Modern English Drama. Translation and Literature 29(1):
85-100.

Book review

 Jackson, Lucy C. M. M. (2019). The Brill Companions

to the Reception of Aeschylus and Sophocles. Translation
and Literature, 28 317-323.
 Jackson, Lucy. C. M. M. (2015). Dancing in the Streets.
A History of Collective Joy. Group: Eastern Group
Psychotherapy Society, 39.4 367-70.
 Jackson, Lucy C. M. M. (2012). The Ancient Dancer in
the Modern World. Journal of Hellenic Studies 296-7.

Professor Oliver Taplin

Oliver Taplin, FBA is a retired British academic and classicist.
He was a fellow of Magdalen College and Professor of
Classical Languages and Literature at the University of Oxford.

Professor Edith Hall

Edith Hall is a British scholar of classics, specializing in Ancient Greek Literature and cultural
history, and Professor in the Department of Classics and Centre for Hellenic Studies at King's
College London
Jasper Griffin
An emeritus professor of classical languages and literature at Oxford University, where he was
also the public orator. He is one of the United Kingdom's most distinguished classicists and is
particularly known for his work on Homer. Until his retirement in 2004, Professor Griffin was a
fellow of Balliol College, where he studied and taught for 48 years. He was also Jackson Fellow
at Harvard University, and in 1986 he was elected a fellow of the British Academy. Jasper
Griffin has written numerous books, including Homer on Life and Death and Latin Poets and
Roman Life, and has served as editor of the Oxford History of the Classical World. He is
currently finishing a book on Attic tragedy and the history of the period in which it was
produced.
Storyboard