Classical Drama Papers

LECTURER : SULASIH NURHAYATI,SS, M.Hum.

MEMBERS OF THE GROUP :

1. FAUZAN YAZID W (2001050035)
2. SYAHRIAL RIEFQI NUR F (20010500)
3. ADI SATRIO PUSPO GALUH (20010500)
4. ANDIKA PRATAMA (20010500)
5. RICKY WAHYU KURNIAWAN (20010500)

ENGLISH EDUCATION MUHAMMADIYAH UNIVERSITY PURWOKERTO

 CHAPTER 1
PRELIMINARY

1.1 Background of the problem

This paper was made to fulfill the task of Drama. In addition, hopefully this
paper is useful for those of us who read and also study it and can add to our
knowledge about Drama.

1.2 Destination
To improve understanding of drama, increase our skills in appreciating literary
works.

CHAPTER II
DISCUSSION

1. Definition of classical Greek drama

Greek theater began in the 6th century BC in Athens with tragedy plays at
religious festivals. This, in turn, inspired the Greek skit genre. Two types of Greek
drama would be very popular and performances spread around the Mediterranean and
influenced Hellenistic and Roman theater.

As a consequence of their enduring popularity, the works of great playwrights such as

Sophocles, Euripides and Aristophanes formed the foundation upon which all modern
theater is based. In the same way, ancient Greek theater architecture continues to
inspire theater design today.

2. The Origins of Tragedy Drama

The exact origins of tragedy (tragōida) are debated among scholars. Some
have linked the genre's revival to an earlier art form, the lyrical performance of epic
poetry. Others suggest a strong connection to rituals performed in Dionysus worship
such as the sacrifice of a goat - a ritual song called trag-ōdia - and the wearing of
masks. Indeed, Dionysos is known as the god of theater and there may be another
connection - a drinking ritual that results in worshipers losing complete control of
their emotions and essentially becoming other people, as actors (hupokritai) expect
them to be when performing. Dionysiac ritual music and dance is most evident in the
choral and musical roles provided by the aulos performer, but a rhythmic element is
also retained in the first use, the trochaic tetrameter and later the iambic trimeter in the
delivery of spoken words. .

3. Drama Tragedy
The play is performed in an open-air theater (theater) with beautiful acoustics
and appears to be open to all males (female presence is contested). From the mid-5th
century BC entry is free. The plot of a tragedy is almost always inspired by episodes
from Greek mythology, which we must remember is often part of Greek religion. As a
consequence of this serious subject matter, which often deals with moral right and
wrong and unfortunate tragic dilemmas, violence is not permitted on stage, and the
death of a character must be heard offstage and out of sight. Similarly, at least in the
early stages of the genre, the poet is unable to make political commentary or
statements through his plays. The early tragedy had only one actor appearing in
costume and wearing a mask, allowing him to disguise himself as a god. Here we may
see a connection with earlier religious rituals where a procession might have been
carried out by a priest. Then, the actor often talks to the choir leader, a group of up to
15 actors (all male) who sing and dance but don't speak. This innovation is credited to
Thespis c. 520 BC (origin of the thespian). The actor also changes costumes during
the performance (using a small backstage tent, the skēne, which will later develop into
a monumental facade) and thus breaks up the drama into distinct episodes. Later, this
would develop into a musical interlude. Finally, three actors were allowed on stage
but no more - a limitation that allowed for equality between poets in competition.
However, a drama can have as many non-speaking cast as needed, so a drama with
greater financial backing can lead to a more spectacular production. Due to the limited
number of actors, each player had to take on a dual role where the use of masks,
costumes, voices and movements became very important.

4. The Origins of Greek Comedy Drama

The exact origins of Greek skits are lost in the mists of prehistory, but the
activity of men dressing and imitating others must surely go back long before records
were written. The first indications of such activity in the Greek world come from
pottery, where decorations in the 6th century BC often represented actors dressed in
horses, satyrs, and dancers in exaggerated costumes. Other early sources of comedy
are the poems of Archilochus (7th century BC) and Hipponax (6th century BC) which
contain sexually explicit and crude humor. A third origin, and cited by Aristotle, lies
in the phallic songs sung during the Dionysiac festival.

5. Famous Playwrights & Competitions

The most famous competition for tragedy shows was as part of the spring
festival of Dionysos Eleuthereus or City of Dionysia in Athens. Archon, a high-
ranking city official, decides which plays will be shown in the competition and which
citizens will act as chorēgoi and have the honor of funding their production while the
state pays the main poets and actors. Each selected poet will submit three tragedies
and one satirical play, a kind of short parody of mythological themes with a chorus of
satirical, wild followers of Dionysos. Drama is judged on the day by a panel, and the
prize for the winner of such a competition, in addition to honor and prestige, is often a
bronze tripod cauldron. From 449 BC there were also prizes for prominent actors
(prōtagōnistēs). Playwrights who regularly wrote plays in competition rose to
prominence, and the three most successful were Aeschylus (c. 525 - c. 456 BC),
Sophocles (c. 496-406 BC), and Euripides (c. 484-407 BC). . Aeschylus is known for
its innovation, adding a second actor and more dialogue, and even making sequels. He
describes his work as 'a snippet from Homer's feast' (Burn 206). Sophocles was very
popular and added a third actor to the show as well as a painted scene. Euripides is
noted for his witty dialogue, realism, and habit of asking the audience awkward
questions with his thought-provoking treatment of common themes. All three plays
were re-staged and even copied into manuscripts for publication and 'mass' study as
part of every child's education.

6. Inheritance
New plays continued to be written and performed, and with the formation of actor
unions in the 3rd century BC and the mobility of professional groups, Greek theater
continued to spread throughout the Mediterranean with theater becoming a common
feature of the urban landscape of Magna Graecia. to Asia Minor. In the Roman world,
drama was translated and imitated in Latin, and the genre gave rise to a new art form
from the 1st century BC, pantomime, which drew inspiration from the presentation
and subject matter of Greek tragedy. Theater is now well established as a popular
form of entertainment and will endure to this day. Even the original 5th century BC
plays continue to inspire modern theater audiences with timeless examinations of
universal themes as they are regularly re-enacted around the world, sometimes, as in
Epidaurus, in the original theater of ancient Greece.

7. Classical Greek Drama and Playwright:

 Aeschylus (525-BC). It was he who first introduced the protagonist and

antagonist characters so that they were able to bring the roles to life. His best-
known work is the Oresteia Trilogy consisting of Agamennon, The Libatian
Beavers, and The Furies.
 Shopocles (496-406 BC) whose famous works are Oedipus The King, Oedipus at
Colonus, Antigone.
 Euripides (484-406 BC) with works including Medea, Hyppolitus, The Trojan
Woman, Cyclops.
 Aristophanes (448-380 BC) screenwriter of skits. With his famous works are
Lysistrata, The Wasps, The Clouds, The Frogs, The Birds.
 Manander (349-291 BC.). Manander removed the chorus and replaced it with
various characters. For example, the character of a good parent, a sly boy, an
honest child, a rude prostitute, an arrogant soldier and so on. Manander's work
also had a strong influence on Classical Roman and Renaissance and Elizabethan
comedic drama.

CHAPTER III
CONCLUSION