Greek tragedy

the Greek tragedy was developed in the antique one and had from 490 to 406 v. Chr. their bloom time. Acquaintance poet are Aischylos, Sophokles and Euripides.

The origin of the Greek tragedy (of tragodia - support singing) lies inthe ritual celebrations in honours of the wine God justifies Dionysos; particularly the Dithyramben is considered as forerunners of the tragedy. As a time of origin the time becomes around 600 v. Chr. assumed.

In the Greek tragedy one could become only guilty by jedwedes acting, howthe treated topic usually over one of the following pairs of opposites circles:

• Its question
• I and world
• humans and Gods
• debt and Sühne
• a character and fate

the fate or the Gods bring the participant into an indissoluble situation, for the GreekTragedy typical conflict, which entails the internal and outside collapse of a person. It does not give to become guilty no way.

The structure follows the basic pattern:

• Pro log
• Parodos, the entrance song of the choir,
• Stasimon, 4 to 6Songs of the choir between the individual episodes
• Exodos, the conclusion song of the choir

this essential structure could not be changed. A firm convention was the change zw. Choir (song verse) and the actor (play verse). By the linear course of action parallel actions or others hadhighlights, which were not demonstrated directly the public, otherwise to be brought. This could take place in different way, approximately with the Teichoskopie (wall-look), the messenger report, the Deus ex machina or by means of the Ekkyklema.

But not only the strict structurethe tragedy had to be kept, it were beside it the also still following conventions to be considered:

• The actor always carried a mask. No masks are received, but one can find the mask to illustrations
  • on vases gave a rigid, frightening appearance;
  • ThoseIndividuality of the actor was put down;
  • It simplified the actor the game of roles;
• Costume could arrange the poet freely, but it was contemporarily historical.
• The tragedy was always specified in the free one, never in the closed area.

Over the music are only fragmentsreceived.

See also: Theatre of the Greek antique ones