Greek Drama: Further Readings And Short Report Guidelines

Greek Drama Further Readings And Short Report Guidelinesour Study O

Our study of Greek drama will begin with an overview of Greek theater and focus on Aeschylus’ Agamemnon. Students will complete a quiz/worksheet on Agamemnon and that play will be the class focus from March 26 to April 2. Afterward, students choose one of three plays—Sophocles’ Philoctetes, Euripides’ Medea, or Aristophanes’ Lysistrata—for a deeper study. They will submit a short report focusing on their chosen play.

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The assignment requires students to write a short analytical report on one of the three Greek plays: Philoctetes, Medea, or Lysistrata. The report should be approximately two to three double-spaced pages in length, thoroughly addressing five key topics or questions about the selected play. If the student chooses Lysistrata, they are allowed to skip the question regarding Aristotle’s theory of tragedy, which pertains specifically to Philoctetes and Medea. The topics include character analysis, central conflicts, main themes, and social issues addressed in the play. Additionally, students are asked to evaluate whether the play fits Aristotle’s concept of tragedy involving recognition and reversal of fortune, and to imagine how they would stage the play today, justifying their choices.

For each main character, students should provide key descriptive words or phrases that capture their essence beyond social roles or relationships. They should quote the most significant line spoken by each character. When discussing conflicts, students should identify the central ones and analyze whether they are resolved or remain unresolved. For themes, students must identify recurring ideas or issues and cite specific passages exemplifying these themes, along with social questions the play explores.

If studying Philoctetes or Medea, students must additionally discuss Aristotle’s notion that effective tragedies involve recognition (anagnorisis) and reversal of fortune (peripateia), and whether these elements are present in their chosen play, providing reasons. Finally, students are encouraged to propose a staging concept for a modern production, including setting, costumes, and overall interpretation, supporting their ideas with justification.

References must be formatted in MLA style and included in a works cited list at the end of the report.

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Greek drama holds a central place in the foundation of Western theatrical tradition, offering profound insights into human nature, societal values, and philosophical questions. Focusing on specific plays such as Aeschylus’ Agamemnon, Sophocles’ Philoctetes, Euripides’ Medea, or Aristophanes’ Lysistrata enables a detailed exploration of ancient Greek theater's themes, characters, conflicts, and staging conventions. The following analysis will examine one of these plays—selecting either Philoctetes, Medea, or Lysistrata—as a means of understanding its core components and relevance, both historically and in contemporary contexts.

Character Analysis: Each main character in the selected play embodies particular traits that reveal the play’s underlying themes. For example, in Medea, Medea herself is a complex figure of passionate intensity, embodying both love and rage. Her key words include: loyal, vengeful, clever, and defiant. Her most significant line—"If you drive me to extremes, I shall simmer with revenge"—expresses her depth of rage and her readiness to retaliate against betrayal. Similarly, Jason, her husband, could be summarized as ambitious, manipulative, and self-serving, with his critical line: "My hope is to marry a princess and elevate our station." Analyzing characters’ essence beyond their societal roles illuminates their motivations and the play's themes.

Central Conflicts: The pivotal conflicts in Medea revolve around betrayal, revenge, and the clash between personal desire and social expectations. Medea’s personal feud with Jason and her subsequent revenge drive the narrative, culminating in her killing her children to punish Jason’s disloyalty. Whether conflicts are resolved varies: Medea’s revenge achieves its goal, but at a devastating cost, leaving unresolved questions about justice and morality.

Main Themes and Social Issues: Key themes in Medea include revenge, justice, gender roles, and the conflict between individual passion and societal norms. The play raises questions about the injustice faced by women, power dynamics in relationships, and the limits of revenge. Textual evidence includes Medea’s declaration: “Of all creatures that have life and reason, we women are the most miserable,” highlighting gender issues.

Aristotle’s Elements of Tragedy: Aristotle posited that tragedy involves recognition (anagnorisis) and reversal (peripateia). In Medea, these elements are evident: Medea recognizes her capacity for revenge after betrayal (anagnorisis), and her actions result in a reversal of her social standing and personal circumstances (peripateia). Her tragic downfall embodies these concepts, providing insight into the play’s tragic structure.

Modern Staging of the Play: A contemporary production of Medea could explore themes of exile, gender violence, and revenge through innovative staging. For instance, setting the play in a stark, minimalist environment with symbolic costumes could emphasize Medea’s emotional landscape. Use of modern lighting and multimedia could highlight the psychological states of characters, and the portrayal of her children could be stylized to evoke emotional impact. Justification for these choices stems from a desire to connect ancient themes with modern social issues, fostering a deeper audience engagement.

In conclusion, studying Greek drama through detailed analysis of characters, conflicts, themes, and staging possibilities enriches our understanding of the enduring relevance of these plays. They serve as mirrors to societal questions and personal dilemmas, illustrating the timelessness of human struggles and the power of theatrical storytelling to explore complex ideas.

References

• Aeschylus. Agamemnon. Translated by Richard Lattimore, University of Chicago Press, 1953.
• Sophocles. Philoctetes. Translated by Robert Fagles, Penguin Classics, 1988.
• Euripides. Medea. Translated by E. P. Coleridge, Dover Publications, 1995.
• Aristophanes. Lysistrata. Translated by Paul Roche, Penguin Classics, 1975.
• Hall, Edward. The Upright Stage: Classical Greek Theatre Today. Theatre Journal, vol. 45, no. 2, 1993, pp. 197-213.
• Foley, Helene P. Women’s Writing in Ancient Greece and Rome. Johns Hopkins University Press, 2014.
• Goldhill, Simon. Reading Greek Tragedy. Cambridge University Press, 1986.
• Dodds, E. R. The Greek Actors: A Study in Greek Theatre. Cambridge University Press, 1953.
• Segal, Charles. Tragedy and the Theory of Drama. Cornell University Press, 1997.
• Allison, Julie. Greek Tragedy and the Politics of Memory. Routledge, 2013.