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Satyr Play
The satyr play is a form of Attic theatre performance related to both comedy and tragedy. It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysian festival following the performance of a group of three tragedies. The satyr play’s mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of satyrs, with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendos, references to breasts, farting, erections, and other references that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kylix By Makron Mainade Satyros Staatliche Antikensammlungen 480BC Kat 94 02
In the pottery of ancient Greece, a kylix ( , ; grc, κύλιξ, pl. κύλικες; also spelled cylix; pl.: kylikes , ) is the most common type of wine-drinking cup. It has a broad, relatively shallow, body raised on a stem from a foot and usually two horizontal handles disposed symmetrically. The main alternative wine-cup shape was the ''kantharos'', with a narrower and deeper cup and high vertical handles. The almost flat interior circle of the base of the cup, called the tondo, was generally the primary surface for painted decoration in the black-figure or red-figure pottery styles of the 6th and 5th century BC, and the outside was also often painted. As the representations would be covered with wine, the scenes would only be revealed in stages as the wine was drained. They were often designed with this in mind, with scenes created so that they would surprise or titillate the drinker as they were revealed. Etymology The word comes from the Greek ''kylix'' ("cup"), w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tragedy
Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain hatawakens pleasure", for the audience. While many cultures have developed forms that provoke this paradoxical response, the term ''tragedy'' often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it. From its origins in the theatre of ancient Greece 2500 years ago, from which there survives only a fra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Odysseus
Odysseus ( ; grc-gre, Ὀδυσσεύς, Ὀδυσεύς, OdysseúsOdyseús, ), also known by the Latin variant Ulysses ( , ; lat, UlyssesUlixes), is a legendary Greek king of Ithaca and the hero of Homer's epic poem the ''Odyssey''. Odysseus also plays a key role in Homer's ''Iliad'' and other works in that same epic cycle. Son of Laërtes and Anticlea, husband of Penelope, and father of Telemachus and Acusilaus, Odysseus is renowned for his intellectual brilliance, guile, and versatility (''polytropos''), and is thus known by the epithet Odysseus the Cunning ( grc-gre, μῆτις, mêtis, cunning intelligence). He is most famous for his ''nostos'', or "homecoming", which took him ten eventful years after the decade-long Trojan War. Name, etymology, and epithets The form ''Odys(s)eus'' is used starting in the epic period and through the classical period, but various other forms are also found. In vase inscriptions, we find the variants ''Oliseus'' (), ''Olyseus'' (), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cyclops (play)
''Cyclops'' ( grc, Κύκλωψ, ''Kyklōps'') is an ancient Greek satyr play by Euripides, based closely on an episode from the ''Odyssey''. It would have been the fourth part of a tetralogy presented by Euripides in a dramatic festival in Fifth-century Athens, 5th Century BC Athens. The date of its composition is unknown, but it was probably written late in Euripides' career. It is the only complete satyr play extant. It is one of a double bill in the 2022 Cambridge Greek Play. Plot The play is set in Sicily at Mount Etna, Mount Aetna. Silenus explains that he and his sons, the chorus, are slaves to a Cyclops, Polyphemus. The chorus enter with singing and sheep. Silenus tells them to stop singing and send the sheep into the cave because he can see a Greek ship by the coast and men coming to the cave. Odysseus enters with his men and asks where they can find water and if anyone will sell them food. Silenus questions Odysseus and Odysseus questions Silenus. On learning that he ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Euripides
Euripides (; grc, Εὐριπίδης, Eurīpídēs, ; ) was a tragedian Tragedy (from the grc-gre, τραγῳδία, ''tragōidia'', ''tragōidia'') is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character. Traditionally, the intention of tragedy i ... of classical Athens. Along with Aeschylus and Sophocles, he is one of the three ancient Greek tragedians for whom any plays have survived in full. Some ancient scholars attributed ninety-five plays to him, but the ''Suda'' says it was ninety-two at most. Of these, eighteen or nineteen have survived more or less complete (''Rhesus (play), Rhesus'' is suspect). There are many fragments (some substantial) of most of his other plays. More of his plays have survived intact than those of Aeschylus and Sophocles together, partly because his popularity grew as theirs declinedMoses Hadas, ''Ten Plays by Euripides'', Bantam Classic (2006), Introduction, p. ixhe became, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Actor As Papposilen Antikensammlung Berlin
An actor or actress is a person who portrays a character in a performance. The actor performs "in the flesh" in the traditional medium of the theatre or in modern media such as film, radio, and television. The analogous Greek term is (), literally "one who answers".''Hypokrites'' (related to our word for hypocrite) also means, less often, "to answer" the tragic chorus. See Weimann (1978, 2); see also Csapo and Slater, who offer translations of classical source material using the term ''hypocrisis'' (acting) (1994, 257, 265–267). The actor's interpretation of a rolethe art of actingpertains to the role played, whether based on a real person or fictional character. This can also be considered an "actor's role," which was called this due to scrolls being used in the theaters. Interpretation occurs even when the actor is "playing themselves", as in some forms of experimental performance art. Formerly, in ancient Greece and the medieval world, and in England at the time of Willi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Margaret C
Margaret is a female first name, derived via French () and Latin () from grc, μαργαρίτης () meaning "pearl". The Greek is borrowed from Persian. Margaret has been an English name since the 11th century, and remained popular throughout the Middle Ages. It became less popular between the 16th century and 18th century, but became more common again after this period, becoming the second-most popular female name in the United States in 1903. Since this time, it has become less common, but was still the ninth-most common name for women of all ages in the United States as of the 1990 census. Margaret has many diminutive forms in many different languages, including Maggie, Madge, Daisy, Margarete, Marge, Margo, Margie, Marjorie, Meg, Megan, Rita, Greta, Gretchen, and Peggy. Name variants Full name * (Irish) * (Irish) * (Dutch), (German), (Swedish) * (English) Diminutives * (English) * (English) First half * ( French) * (Welsh) Second half * (English), (G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Silenus
In Greek mythology, Silenus (; grc, Σειληνός, Seilēnós, ) was a companion and tutor to the wine Greek god, god Dionysus. He is typically older than the satyrs of the Dionysian retinue (''thiasos''), and sometimes considerably older, in which case he may be referred to as a Papposilenus. The plural ''sileni'' refers to the mythological figure as a type that is sometimes thought to be differentiated from a satyr by having the attributes of a horse rather than a goat, though usage of the two words is not consistent enough to permit a sharp distinction. Silenus presides over other Daimon, daemones and is related to musical creativity, prophetic ecstasy, drunken joy, drunken dances and gestures. Evolution The original Silenus resembled a folkloric man of the forest, with the ears of a horse and sometimes also the tail and legs of a horse. The later sileni were drunken followers of Dionysus, usually bald and fat with thick lips and squat noses, and having the legs of a huma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maenads
In Greek mythology, maenads (; grc, μαινάδες ) were the female followers of Dionysus and the most significant members of the Thiasus, the god's retinue. Their name literally translates as "raving ones". Maenads were known as Bassarids, Bacchae , or Bacchantes in Roman mythology after the penchant of the equivalent Roman god, Bacchus, to wear a bassaris or fox skin. Often the maenads were portrayed as inspired by Dionysus into a state of ecstatic frenzy through a combination of dancing and intoxication. During these rites, the maenads would dress in fawn skins and carry a thyrsus, a long stick wrapped in ivy or vine leaves and tipped with a pine cone. They would weave ivy-wreaths around their heads or wear a bull helmet in honor of their god, and often handle or wear snakes. These women were mythologized as the "mad women" who were nurses of Dionysus in Nysa. Lycurgus "chased the Nurses of the frenzied Dionysus through the holy hills of Nysa, and the sacred implements ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alcestis (play)
''Alcestis'' (; grc-gre, Ἄλκηστις, ''Alkēstis'') is an Athenian tragedy by the ancient Greek playwright Euripides. It was first produced at the City Dionysia festival in 438 BC. Euripides presented it as the final part of a tetralogy of unconnected plays in the competition of tragedies, for which he won second prize; this arrangement was exceptional, as the fourth part was normally a satyr play. Its ambiguous, tragicomic tone—which may be "cheerfully romantic" or "bitterly ironic"—has earned it the label of a "problem play." ''Alcestis'' is, possibly excepting the '' Rhesus'', the oldest surviving work by Euripides, although at the time of its first performance he had been producing plays for 17 years. Events prior to the start of the play Long before the start of the play, King Admetus was granted by the Fates the privilege of living past the allotted time of his death. The Fates were persuaded to allow this by the god Apollo (who got them drunk). This unusual ba ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sisyphus Fragment
The Sisyphus fragment is a fragment from Classical Attic drama which is thought to contain an early argument for atheism, claiming that a clever man invented "the fear of the gods" in order to frighten people into behaving morally. The fragment was preserved in the works of the Pyrrhonist philosopher Sextus Empiricus. In antiquity, its authorship was disputed and is attributed in one tradition to Euripides, in another Critias, but the fragment indicates clear intellectual influences that are less under dispute. This includes the thought of Democritus, as Charles H. Kahn has argued. Like the Sisyphus fragment, Democritus wrote that early humans believed in the gods through fear of natural celestial phenomena: Text The Greek text is conserved in Sextus Empiricus ''Against the Physicists'' Book 1 Section 54 Several English versions exist. That by R. G. Bury runs:- :::::A time there was when anarchy did rule :::::The lives of men, which then were like the beasts, :::::Enslaved b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Theristai
''Theristai'' ( grc, Θερισταί, also known as ''Reapers'' or ''Harvesters''), is a lost satyr play by Attic playwright Euripides. It was initially performed at the Dionysia in Athens in 431 BCE along with the tragedies ''Medea'', '' Philoctetes'' and ''Dictys''. The tetralogy finished in 3rd place, behind tetralogies by Euphorion (Aeschylus' son), who won 1st prize, and Sophocles. The play was recorded as having been lost as early as 200 BCE by Aristophanes of Byzantium in his hypothesis A hypothesis (plural hypotheses) is a proposed explanation for a phenomenon. For a hypothesis to be a scientific hypothesis, the scientific method requires that one can test it. Scientists generally base scientific hypotheses on previous obse ... for ''Medea''. No fragments have been assigned to Theristai. It has been suggested that this play may be an alternate title for Euripides' lost play '' Syleus'', for which several fragments are extant. References {{Authority contr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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