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Mask of Dionysus found at Myrina (Aeolis) of ancient Greece c. 200 BC – 1 BC, now at the Louvre. Greek tragedy (Ancient Greek: τραγῳδία, romanized: tragōidía) is one of the three principal theatrical genres from Ancient Greece and Greek-inhabited Anatolia, along with comedy and the satyr play.
Euripides [a] (c. 480 – c. 406 BC) was a Greek 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.
Phrynichus (/ ˈ f r ɪ n ɪ k ə s /; Ancient Greek: Φρύνιχος), son of Polyphradmon and pupil of Thespis, was one of the earliest of the Greek tragedians. Some ancients regarded him as the real founder of tragedy. Phrynichus is said to have died in Sicily. His son Polyphrasmon was also a playwright.
Getty Villa – Storage Jar with a chorus of Stilt walkers – inv. VEX.2010.3.65. A Greek chorus (Ancient Greek: χορός, romanized: chorós) 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, or provide necessary insight into action which has taken place offstage ...
The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BCE, concerning the murder of Agamemnon by Clytemnestra, the murder of Clytemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus and the pacification of the Furies (also called Erinyes or Eumenides).
[3] [4] Academic knowledge of the genre begins with his work, [5] and understanding of earlier Greek tragedy is largely based on inferences made from reading his surviving plays. [6] According to Aristotle, he expanded the number of characters in the theatre and allowed conflict among them. Formerly, characters interacted only with the chorus ...
Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively ...
Aristophanes was the equal of these great tragedians in his subtle use of lyrics. [70] He appears to have modelled his approach to language on that of Euripides in particular, so much so that the comic dramatist Cratinus labelled him a 'Euripidaristophanist' addicted to hair-splitting niceties.