A spear carrier is a minor actor in a play or, by extension, a person whose actions are of little significance. [1]
A spear carrier is a minor actor in a play or, by extension, a person whose actions are of little significance. [1]
In the world of opera, the term is sometimes used literally: When a male chorus is required, as in Aida , for example, the onstage "army", armed with spears or swords, usually consists of several singers and as many who remain silent, filling out the group. The silent ones are known as spear carriers, to differentiate them from the male chorus members.
The Ancient Greek term for spear carrier (δορυφόρος doryphóros, from δόρυ, "spear," and φέρω, "to carry") originally meant a soldier armed with a spear acting as a bodyguard or ceremonial guard to noblemen. The modern meaning has its roots in classical Greek tragedy; as plays such as Antigone and Oedipus Rex concerned the tragic fate of nobles, several nondescript soldiers or guards were required to appear in the background, and the term was used to describe the guards who just escorted the main characters. [2] The term has survived verbatim but evolved in meaning from its metaphorical use, and today carries the general meaning of satellite[ clarification needed ] in Modern Greek. [3]
The 1968 Nebula Award-winning novel Rite of Passage , by Alexei Panshin, mentions the protagonist's observations of the role of spear carriers in real life:
A spear carrier is somebody who stands in the hall when Caesar passes, comes to attention and thumps his spear. A spear carrier is the anonymous character cut down by the hero as he advances to save the menaced heroine. A spear carrier is a character put in a story to be used like a piece of disposable tissue. In a story, spear carriers never suddenly assert themselves by throwing their spears aside and saying, "I resign. I don't want to be used." They are there to be used, either for atmosphere or as minor obstacles in the path of the hero. The trouble is that each of us is his own hero, existing in a world of spear carriers. We take no joy in being used and discarded. I was finding then, that wet, chilly, unhappy night, that I took no joy in seeing other people used and discarded.
Aristophanes, son of Philippus, of the deme Kydathenaion, was a comic playwright or comedy-writer of ancient Athens and a poet of Old Attic Comedy. Eleven of his forty plays survive virtually complete. These provide the most valuable examples of a genre of comic drama known as Old Comedy and are used to define it, along with fragments from dozens of lost plays by Aristophanes and his contemporaries.
Aeschylus was an ancient Greek tragedian often described as the father of tragedy. Academic knowledge of the genre begins with his work, and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus.
Sophocles was an ancient Greek tragedian, known as one of three from whom at least one play has survived in full. His first plays were written later than, or contemporary with, those of Aeschylus; and earlier than, or contemporary with, those of Euripides. Sophocles wrote over 120 plays, but only seven have survived in a complete form: Ajax, Antigone, Women of Trachis, Oedipus Rex, Electra, Philoctetes, and Oedipus at Colonus. For almost fifty years, Sophocles was the most celebrated playwright in the dramatic competitions of the city-state of Athens which took place during the religious festivals of the Lenaea and the Dionysia. He competed in thirty competitions, won twenty-four, and was never judged lower than second place. Aeschylus won thirteen competitions, and was sometimes defeated by Sophocles; Euripides won four.
A lance is a long thrusting spear designed to be used by a mounted warrior or cavalry soldier (lancer). In ancient and medieval warfare, it evolved into the leading weapon in cavalry charges, and was unsuited for throwing or for repeated thrusting, unlike similar weapons of the javelin and pike family typically used by infantry. Lances were often equipped with a vamplate, a small circular plate to prevent the hand sliding up the shaft upon impact, and beginning in the late 14th century, they were used in conjunction with a lance rest attached to the breastplate. Though best known as a military and sporting weapon carried by European knights and men-at-arms, the use of lances was widespread throughout Eastern Asia, the Middle East, and Northern Africa wherever suitable mounts were available. Lancers of the medieval period also carried secondary weapons such as swords, battle axes, war hammers, maces and daggers for use in hand-to-hand combat, since the lance was often a one-use-per-engagement weapon; assuming the lance survived the initial impact without breaking, it was often too long, heavy, and slow to be effective against opponents in a melee.
In Greek mythology, Antigone is a Theban princess, and a character in several ancient Greek tragedies. She is the daughter of Oedipus, king of Thebes, and either his mother Jocasta or, in another variation of the myth, Euryganeia. She is a sister of Polynices, Eteocles, and Ismene. The meaning of the name is, as in the case of the masculine equivalent Antigonus, "in place of one's parents" or "worthy of one's parents". Antigone appears in the three 5th century BC tragic plays written by Sophocles, known collectively as the three Theban plays, being the protagonist of the eponymous tragedy Antigone. She makes a brief appearance at the end of Aeschylus' Seven against Thebes, while her story was also the subject of Euripides' now lost play with the same name.
Antigone is an Athenian tragedy written by Sophocles in 441 BC and first performed at the Festival of Dionysus of the same year. It is thought to be the second oldest surviving play of Sophocles, preceded by Ajax, which was written around the same period. The play is one of a triad of tragedies known as the three Theban plays, following Oedipus Rex and Oedipus at Colonus. Even though the events in Antigone occur last in the order of events depicted in the plays, Sophocles wrote Antigone first. The story expands on the Theban legend that predates it, and it picks up where Aeschylus' Seven Against Thebes ends. The play is named after the main protagonist Antigone.
A protagonist is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. If a story contains a subplot, or is a narrative made up of several stories, then each subplot may have its own protagonist.
Oedipus was a mythical Greek king of Thebes. A tragic hero in Greek mythology, Oedipus accidentally fulfilled a prophecy that he would end up killing his father and marrying his mother, thereby bringing disaster to his city and family.
Creon, is a figure in Greek mythology best known as the ruler of Thebes in the legend of Oedipus.
Oedipus Rex, also known by its Greek title, Oedipus Tyrannus, or Oedipus the King, is an Athenian tragedy by Sophocles that was first performed around 429 BC. Originally, to the ancient Greeks, the title was simply Oedipus (Οἰδίπους), as it is referred to by Aristotle in the Poetics. It is thought to have been renamed Oedipus Tyrannus to distinguish it from Oedipus at Colonus, a later play by Sophocles. In antiquity, the term "tyrant" referred to a ruler with no legitimate claim to rule, but it did not necessarily have a negative connotation.
Oedipus at Colonus is the second-last of the three Theban plays of the Athenian tragedian Sophocles. It was written shortly before Sophocles's death in 406 BC and produced by his grandson at the Festival of Dionysus in 401 BC.
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.
A parodos, in the theater of ancient Greece, is a side-entrance to the stage, or the first song that is sung by the chorus at the beginning of a Greek tragedy.
Sophocles' Ajax, or Aias, is a Greek tragedy written in the 5th century BCE. Ajax may be the earliest of Sophocles' seven tragedies to have survived, though it is probable that he had been composing plays for a quarter of a century already when it was first staged. It appears to belong to the same period as his Antigone, which was probably performed in 442 or 441 BCE, when he was 55 years old. The play depicts the fate of the warrior Ajax, after the events of the Iliad but before the end of the Trojan War.
A kommos is a lyrical song of lamentation in an Athenian tragedy that the chorus and a dramatic character sing together. It is also found in comedies with certain peculiarities. A kommos occurs "when the tension of the play rises to a climax of grief or horror or joy". Examples include the final section of Aeschylus' The Persians in which Xerxes laments the defeat of his Persian army, the final appearance of Antigone in Sophocles' Antigone, the interaction between the chorus and Oedipus when he returns having blinded himself in Sophocles' Oedipus Rex, and the exchange between Orestes, Electra and the chorus immediately after Clytemnestra's murder in Euripides' Electra.
The Burial at Thebes: A version of Sophocles' Antigone is a play by Irish Nobel laureate Seamus Heaney, based on the fifth century BC tragedy Antigone by Sophocles. It is also an opera by Dominique Le Gendre.
The Infernal Machine, or La Machine Infernale is a French play by the dramatist Jean Cocteau, based on the ancient Greek myth of Oedipus. The play initially premiered on April 10, 1934 at the Theatre Louis Jouvet in Paris, France, under the direction of Louis Jouvet himself, with costumes and scene design by Christian Bérard. The Infernal Machine, as translated by Albert Bermel, was first played at the Phoenix Theatre, New York, on February 3, 1958, under the direction of Herbert Berghof, with scenery by Ming Cho Lee, costumes by Alvin Colt, and lighting by Tharon Musser.
Some authors have argued that use of costume in Athenian tragedy was standardized for the genre. This is said to have consisted of a full-length or short tunic, a cloak and soft leather boots, and may have been derived from the robes of Dionysian priests or invented by Aeschylus. Brockett, however, disputes this, arguing that the evidence we have is based on archaeological remains, some few references in the texts, and the writings of later authors. As far as the vase paintings are concerned, most of these are dated later than the 5th century BCE and their relationship with theatrical practice is unclear. One of the earliest examples is a red-figure vase painting c. 500-490 BCE that shows a tragic chorus invoking a ghost, on a crater (bowl) in the Antikenmuseum in Basle.
Oedipus the King is a 1968 British film adaptation of the Sophoclean tragedy Oedipus Rex, directed and co-written by Philip Saville. It stars Christopher Plummer as the title character, Orson Welles as Tiresias, Lilli Palmer as Jocasta, Richard Johnson as Creon and Donald Sutherland as the leading member of the Chorus, though the latter's voice was dubbed by Valentine Dyall. Saville's first theatrical film effort, the film remained highly theatrical in nature, and is known for its intensive dialogue typical of an ancient play.