DRAMA 208

orchestra

The circular performing space for the chorus and actors

proskenion

The performing space just in front of the skene

skene

The space at the back of the theatre where violence and graphic scenes woulkd occur, to ensure that the audience did not view these acts

theatron

The seating area for the audience, it allowed them to view from a safe distance

ekkyklema

A wheeled platform rolled out from the skene to show the aftermath of the action that occurred (ie. dead people)

deus ex machina

a machine used to allow for an actor to appear as if from the heavens, it was often used as a plot device to quikcly/suddenly resolve the conflict

chorus

Plays a part in making the action of the play public, making what transpires about the whole polis rather than the individual

tragedy

This style of performance has shifted them from remembering heoric deeds, and instead considering the characters and the agents of these deeds and heroes

dithyramb

A choral hymn sung and danced in honour of Dionysus, it was ecstatic in nature and were performed as a sort of call and response, recounting tales of Dionysus’ victories, failures, and life

catharsis

To purify the harmful effects of pity and fear, an ecstasy through tragedy

Aristotle

Wrote the first dramatic treatise of theatrical arts, focused on the formal aspects of drama

Sophocles

Introduced having a third actor, allowing for conflict to be more socially driven, created the ability to have outside conflicts and more complex dynamics

Thespis

Pushed Greek Tragedy into the realms of shared humanity, by having the chorus surround the lone hero he created a movement that brought the audience into the hero’s struggle

Old Comedy

A style that pushed the limits of imagination, was often fantasical and featured excessive language, it was social in nature and had the audience unsure of what came next

New Comedy

Based in reality, it was a style the audience could relate to. It was domestic and left the audience feeling like they were better than the actors. The problems and conflicts were familiar, often about love and family confusions, and how these affected relationships. It was much more open about criticizing the wealthy and their exccessive habits

teleogical plot

Favoured by New Comedy, this was a device that moved the plot towards a satisfying and logical conclusion

parabasis

A style in which the chorus would address and speak directly to the audience, calling them out individually and calling on them for political comment in the universe of the performance

Aristophanes

Father of Old Comedy, his plays were myth and fantasical, often pushing the llimits of fiction where the audience didn’t know what to expect

Menander

Father of New Comedy, his plays stayed in the realms of what was probable and possible in the world, and focused on more domestic problems and the humour in these

Fabulla Palliata

Comedies/stories in Greek Costume. It was a hybrid of Greek New Comedy, but Plautus reformed them so they were more Roman than Greek

Plautus

Restyled Greek New Comedy to be more Roman in identity. He distorted many of Melander’s New Comedy features to fit a Roman worldview. He chose to place his audience in a place where they often had more information than the actors/characters.

Natya

A type of theatre that embodies and celebrates bodies, emotions, pleasure, and success. This style combines dance, ritual knowledge, and aesthetic forms into one cohesive performance. It is said to have originated from Brahma to celebrate the gods' victories over the demons, and as a result serves as spiritual nourishment. It is passed down orally from master to student

Natyashastra

The comprehensive text detailing all aspects of Sanskrit theatre including makeup, costume, and detailing the myths and origins of its dance, actor training, etc. The encyclopedia of theatre

Rasa

A state of hyperawareness and delight as a result of the performance - this state brings viewers into a higher state of spiritual bliss. There are eight types of this: Er0tic, Comic, Pathetic, Furious, Heroic, Terrible, Odious, Marvelous

Bhava

The term for emotions created through the resources available to the actors (ie. makeup, costume). This leads to Rasa

Bharatamuni

The sage summoned by Brahma the study and learn natya.The sage brought natya to the mortals

Kalidasa

Is the Sanskrit equivalent of Shakespeare in English literature, draws from many famous Hindu legends and myths

Kama

Pleasure

Artha

Prosperity

Dharma

Duty

Moksa

Spritual Liberation

The Four Purusarthas

Moksa, Kama, Dharma, Artha

Brahma

Deity/God of creation, created the Natya as a celebration of the gods’ triumphs against the demons

Shamanism

A cultural practice of those who served as guardians of the brigde between this world and the shadow world, using self meditation and rituals

Efficacy

The power or capability to produce a desired result, and the success of producing that result

Ritual Theatre

• Draws myths and ritualistic actions from the community

• It is built on the belief that the community's faith will sustain it

• Uses theatrical and dramatic means to enact and serve ritual functions and what they represent

• This draws this theatre style into myth with gods and sacrifice

Abydos “Passion Play”

Took place where Osiris was buried, commemorating his transition into mastery of the afterlife, and celebrating major life events of Osiris

Quem Quaeritis Trope

Meaning “whom do you seek” in latin, it was the performance of the three Marys arriving at Jesus’ tomb on Easter morning and finding it empty.

Locus and Platea

Means “Place-and-scaffold”, and refers to plays that took place in less urban areas, where basic scaffolding could serve as multiple locations for whatever the play and performers required. Audience members could often move about and around the scaffolding to find the best location for watching. The “place” was often a booth called the mansion.

Hrotsvitha

A lay canoness who was a highly educated member of the aristocracy. She wrote six plays that advocated for feminine discipline and the suppression of their sexuality in favour of virginity. She aimed to redeem drama by framing it instead with Christian values

Medival Drama - Early

Came about by Emperor Constantine’s conversion to Christianity, ending the prejudice against Christians in the Roman Empire. This style condemned Roman drama, believing it was immodest to the soul and dangerous, serving as a violation of the divine truth. As a result, most dramatic performances were done by lone performers or troupes, for peasants and taverns

Religious Drama

Had two catergories: Chruch and Civic

Liturgical Church Drama

Used as a means to worship, was performed inside the Chruch in latin and acted out particular rituals of the religion. Later began adding theatrical elements to elevate the performances. It used a similar style to Locus and Platea, where the Locus was the choir position in the church.The Platea was the nave of the church

Jongleur

The tradition of small groups of performers consisting of jesters, jugglers, clowns, and other performers who traveled Europe performing on the outskirts of society, performing for common folk and sometimes also reciting old manuscripts from the Early Mediveal Ages and beyond

Allegory

A tangible figure/material representing an abstract of spiritual meaning

morality play

The dramatization of a spiritual crisis in a figure representing mankind, where his spiritual struggle is depicted as a battle between good and evil

Moansteries

Also served as a place for the copying and preserving of secular texts, and texts by non-Christian authors

Kalends Celebration

“heathen practices” that celebrated pre-Christian traditions and rituals, often greeting the beginning of the new year and dating back to the Roman Era

Affective Piety

A play that served to cultivate devontional memory, often depicting rituals and sacred plays of important moments in secular history. By imitating and presenting a living image of important figures like saints, it gave the audience a higher sense of devotion and piety.

Passion Plays

Plays that have been performed since 12th century, but rose to popularity in the 13th and 14th century. These performances depicted the birth, life, death, and ressurection of Jesus Christ