Euripides was a tragedian 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. There are many fragments 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 declined—he became, in the Hellenistic Age, a cornerstone of ancient literary education, along with Homer, Demosthenes, and Menander.
In Greek mythology, a satyr, also known as a silenus or silenos, and selini (plural), is a male nature spirit with ears and a tail resembling those of a horse, as well as a permanent, exaggerated erection. Early artistic representations sometimes include horse-like legs, but, by the sixth century BC, they were more often represented with human legs. Comically hideous, they have mane-like hair, bestial faces, and snub noses and they always are shown naked. Satyrs were characterized by their ribaldry and were known as lovers of wine, music, dancing, and women. They were companions of the god Dionysus and were believed to inhabit remote locales, such as woodlands, mountains, and pastures. They often attempted to seduce or rape nymphs and mortal women alike, usually with little success. They are sometimes shown masturbating or engaging in bestiality.
Arion was a kitharode in ancient Greece, a Dionysiac poet credited with inventing the dithyramb. The islanders of Lesbos claimed him as their native son, but Arion found a patron in Periander, tyrant of Corinth. Although notable for his musical inventions, Arion is chiefly remembered for the fantastic myth of his kidnapping by pirates and miraculous rescue by dolphins, a folktale motif.
In Greek mythology, Silenus was a companion and tutor to the wine 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. Silen and its plural sileni refer 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.
Tragedy 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 [that] awakens 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.
In ancient Greek religion and myth, Dionysus is the god of wine-making, orchards and fruit, vegetation, fertility, festivity, insanity, ritual madness, religious ecstasy, and theatre. He was also known as Bacchus by the Greeks for a frenzy he is said to induce called baccheia. As Dionysus Eleutherios, his wine, music, and ecstatic dance free his followers from self-conscious fear and care, and subvert the oppressive restraints of the powerful. His thyrsus, a fennel-stem sceptre, sometimes wound with ivy and dripping with honey, is both a beneficent wand and a weapon used to destroy those who oppose his cult and the freedoms he represents. Those who partake of his mysteries are believed to become possessed and empowered by the god himself.
The Bacchae is an ancient Greek tragedy, written by the Athenian playwright Euripides during his final years in Macedonia, at the court of Archelaus I of Macedon. It premiered posthumously at the Theatre of Dionysus in 405 BC as part of a tetralogy that also included Iphigeneia at Aulis and Alcmaeon in Corinth, and which Euripides' son or nephew is assumed to have directed. It won first prize in the City Dionysia festival competition.
A Greek chorus in the context of ancient Greek tragedy, comedy, satyr plays, is a homogeneous group of performers, who comment with a collective voice on the action of the scene they appear in. The chorus consisted of between 12 and 50 players, who variously danced, sang or spoke their lines in unison, and sometimes wore masks.
The Dionysia was a large festival in ancient Athens in honor of the god Dionysus, the central events of which were the theatrical performances of dramatic tragedies and, from 487 BC, comedies. It was the second-most important festival after the Panathenaia. The Dionysia actually consisted of two related festivals, the Rural Dionysia and the City Dionysia, which took place in different parts of the year. They were also an essential part of the Dionysian Mysteries.
The Lenaia was an annual Athenian festival with a dramatic competition. It was one of the lesser festivals of Athens and Ionia in ancient Greece. The Lenaia took place in Athens in Gamelion, roughly corresponding to January. The festival was in honour of Dionysus Lenaios. There is also evidence the festival also took place in Delphi.
Ancient Greek theatre was a theatrical culture that flourished in ancient Greece from 700 BC. The city-state of Athens, which became a significant cultural, political, and religious place during this period, was its centre, where the theatre was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy, comedy, and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.
Greek tragedy is one of the three principal theatrical genres from Ancient Greece and Greek inhabited Anatolia, along with comedy and the satyr play. It reached its most significant form in Athens in the 5th century BC, the works of which are sometimes called Attic tragedy.
Ancient Greek comedy was one of the final three principal dramatic forms in the theatre of classical Greece. Athenian comedy is conventionally divided into three periods: Old Comedy, Middle Comedy, and New Comedy. Old Comedy survives today largely in the form of the eleven surviving plays of Aristophanes; Middle Comedy is largely lost, i.e. preserved only in relatively short fragments by authors such as Athenaeus of Naucratis; and New Comedy is known primarily from the substantial papyrus fragments of Menander.
Cyclops 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 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.
An ekkyklêma or eccyclema was a wheeled platform rolled out through a skênê in ancient Greek theatre. It was used to bring interior scenes out into the sight of the audience. Some ancient sources suggest that it may have been revolved or turned.
Drama is the specific mode of fiction represented in performance: a play, opera, mime, ballet, etc., performed in a theatre, or on radio or television. Considered as a genre of poetry in general, the dramatic mode has been contrasted with the epic and the lyrical modes ever since Aristotle's Poetics —the earliest work of dramatic theory.
Theatre or theater is a collaborative form of performing art that uses live performers, usually actors or actresses, to present the experience of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. It is the oldest form of drama, though live theatre has now been joined by modern recorded forms. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Places, normally buildings, where performances regularly take place are also called "theatres", as derived from the Ancient Greek θέατρον, itself from θεάομαι.
The history of theatre charts the development of theatre over the past 2,500 years. While performative elements are present in every society, it is customary to acknowledge a distinction between theatre as an art form and entertainment, and theatrical or performative elements in other activities. The history of theatre is primarily concerned with the origin and subsequent development of the theatre as an autonomous activity. Since classical Athens in the 5th century BC, vibrant traditions of theatre have flourished in cultures across the world.
The Trackers of Oxyrhynchus is a 1990 play by English poet and playwright Tony Harrison. It is partially based on Ichneutae, a satyr play by the fifth-century BC Athenian dramatist Sophocles, which was found in fragments at the Egyptian city of Oxyrhynchus.
