Nature of Acting and Theatrical Elements in Classical Greek Theatre
1. The Evolution of Theater Acting:
Theater encompasses various elements, such as actors, audience, text, costumes, scenery, lights, sound, and props, which collaboratively contribute to the production. This article delves into the roles of masks, costumes, and symbolic elements in classical Greek theatre, shedding light on their profound significance. Acting in classical theatre was highly stylized. Speeches were rendered in a declamatory manner. This was essentially because theatre was an open door affair, and the audience was quite large in number. The nature of the performance environment placed considerable task on the voice. According to Oscar G. Brockett, the Greeks “judged actors above all by the beauty of vocal tone and ability to adapt to manner of speaking to mood and character”.
2. The Evolution of Theater: From Rituals to Theatrical Spectacles:
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| Euripides (480?-406? bc) |
3. Masks in Classical Greek Theatre:
Masks held a pivotal position in classical Greek theatre, primarily serving a symbolic purpose rather than aiming for realism. While masks conveyed subtle emotional nuances, their usage followed conventionalized patterns. Tragic masks instilled horror, intensifying the portrayal of tragic characters, while comic masks exaggerated the attributes of the characters they represented. The chorus masks symbolically embodied animals and birds. Additionally, masks were designed to enhance the actors' height, making them more visible to the audience. Furthermore, masks facilitated role changes and enabled male actors to portray female characters, as the presence of female actresses was prohibited on the Greek stage.
4. Costumes and Symbolism:
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| Aeschylus (525?-456 bc) |
Costumes worn by actors in classical Greek theatre drew inspiration from modified contemporary Athenian fashion. Tragic actors donned beautiful garments, reflecting the aristocratic tendencies inherent in tragic performances. Conversely, during poignant moments, tragic characters wore torn dresses, visually conveying their anguish. These observations are evident from the statements made by actors in the works of Sophocles and Euripides. According to Oscar Brockett, both actors and the chorus would often wear a tunic (chiton), accompanied by either a short cloak (chlamys) or a long one (himation).
Apart from the masks and the costumes, tragic actors also wore high heeled thick booths called kothornoi and an exaggerated hair known asonkus. The purpose of these was to enhance the actors’ height for easy visibility.
Comic actors wore the dresses of the lowborn and these costumes were made funny by having them ill-fitted, too short and very tight. The essence was to emphasize comic nudity, as Brockett would say. Sexual attributes were equally emphasized through costumes. For example, male characters, excluding the chorus wore phalluses to emphasize the fertility aim of the dionysiac festival.
5. Symbolic Properties:
Symbolic properties played a crucial role in establishing the identities of both actors and the chorus. A king wielded a scepter, a warrior brandished a spear, a suppliant carried a branch, and a herald donned a wreath, among other examples. These symbolic props enriched the performances, providing visual cues to the characters' roles and statuses.
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| Euripides (480?-406? bc) |
6. Significance and Functions of the Chorus in Classical Greek Theatre:
The chorus played a crucial role in classical Greek theatre, serving various functions and contributing to the overall dramatic experience. This article explores the significance of the chorus through organized bullet points:
6.1. Composition and Evolution:
The chorus consisted of Athenian men who stood on the stage, providing commentary on incidents and characters, as well as engaging in dancing and singing during interludes.
Originally, the chorus comprised fifty members, but over time, as more characters were introduced, the number was reduced, sometimes even dwindling to twelve.
However, in the 4th century B.C., the chorus began to lose its prominence, and in certain plays by Euripides, it became non-existent.
6.2. Functions of the Chorus in 5th Century B.C.:
6.2.1. Providing Ethical and Social Background:
In some plays, the chorus supplied the ethical and social context, exemplified in works like "Oedipus the King" by Sophocles and "The Oresteian Trilogy" by Aeschylus.
6.2.2.Assuming Character Roles:
The chorus occasionally played specific characters in the plays, offering advice, expressing opinions, and adding depth to the narrative.
6.2.3.Establishing Mood:
The chorus contributed to creating the desired mood of the performance, enhancing the overall atmosphere and emotional impact on the audience.
6.2.4.Rhythm and Pause:
Through their movements and interactions, the chorus helped establish rhythm and pauses in the performance, allowing the audience time for reflection and contemplation.
6.2.5.Representing the Audience:
The chorus acted as the ideal spectators, reacting to the play in a manner that mirrored how the audience would have responded. Their responses amplified the audience's engagement and connection to the production.
6.2.6.Enriching Performances with Songs and Dances:
Songs and dances performed by the chorus added vibrant elements to the theatrical experience, heightening the dramatic effect and captivating the audience.
6.3. Importance of Chorus Training:
Greek theatre placed great emphasis on dance, and the quality of the chorus's performance was of utmost importance.
Playwrights were assigned choruses eleven months before the actual performance, allowing ample time for training.
Chorus training was rigorous and time-consuming, reflecting the Greeks' dedication to ensuring exceptional dance performances.
7. Conventions of Classical Greek Theatre
Classical Greek theatre adhered to several conventions that shaped its practice and performances. Here are the key conventions presented in an organized manner:
7.1. Exclusion of Women from the Stage:
Due to the sacred nature of the Dionysian festival, women were prohibited from appearing on the Greek stage.
Consequently, roles originally intended for female characters were played by young men, who disguised themselves by wearing masks and feminine attire.
7.2. Use of Offstage Violence:
Violent actions such as killings, stabbings, and deaths occurred offstage.
The results of these violent acts were revealed to the audience on stage using a device called the ekkyklema, which showcased the aftermath of the violent events.
7.3. Sources of Subject Matter:
The subject matter of plays was drawn from historical events and popular myths.
This selection allowed plays to focus on critical moments rather than starting from the beginning, employing a narrative technique known as the late point of attack.
7.4. Limitation on Number of Actors:
Only three actors were permitted to perform on stage simultaneously.
These actors played multiple roles, showcasing their versatility and skill in portraying various characters.
7.5. Masked Performances:
Both actors and the chorus wore masks throughout the performances.
Masks served multiple purposes, including differentiating characters, amplifying expressions, and enhancing visibility for the audience.
8. Theatre-going Culture in Classical Greek Period
Theatre-going during the classical Greek period was not only a matter of civic obligation but also a source of great enthusiasm for the Athenian citizens. The City Dionysia festival, the most significant Athenian celebration, brought about public holidays for the entire six-day duration of the festival. Every healthy citizen, regardless of gender or status, was expected to attend the theatre.
Theatre-goers would arrive early in the morning, eager to secure the best seats. Fully prepared for the day, they would bring food and wine to sustain themselves throughout the performances. The absence of modern distractions like cinema halls, magazines, or videos allowed the theatre to hold a prominent place in their attention and leisure time.
Audience members expressed their opinions openly and spontaneously, openly critiquing poor performances with catcalls and boos, while lavishing applause upon exceptional actors. The Athenian audience held their gods in high regard, leading them to vehemently reject playwrights, such as Euripides, who portrayed the gods in an unfavorable light. Playwrights were seen as religious ministers, molding the national mind and character through their works.
Recognizing the sacred role of theatre, the city-state provided financial support for play productions. Playwrights seeking production approval applied to the state magistrate, the archon, who assigned the chorus and the choragus responsible for funding and training the chorus. Wealthy individuals known as choragoi acted as financial benefactors, similar to modern-day "Angels" supporting Broadway productions.
The state covered the payment of actors and winning playwrights through public funds. The dramatic contests were fiercely competitive, with judges appointed by the state awarding prizes. Each playwright was required to submit four plays, consisting of three tragic plays and one satyr.
9. Conclusion
In conclusion, classical Greek theatre was characterized by masked actors, the use of symbolic props, and the chorus playing various roles. The emphasis on civic obligation, sacredness, and competition contributed to the unique nature of acting and theatrical elements in this era.
References:
1. 206 Classical Greek Theatre, Classical Drama and Theatre. (n.d.). 206 Classical Greek Theatre, Classical Drama and Theatre. Retrieved January 12, 2017, from https://www.usu.edu/markdamen/clasdram/chapters/061gkthea.htm
2.Theatre of ancient Greece - Wikipedia. (2007, January 22). Theatre of Ancient Greece - Wikipedia. Retrieved January 23, 2017, from https://en.wikipedia.org/wiki/Theatre_of_ancient_Greece
3. G., O. (n.d.). Oscar G. Brockett. Department of Theatre and Dance - the University of Texas at Austin. https://theatredance.utexas.edu/emeritus/brockett-oscar-g
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