Greek Tragedy, Sophocles and Euripides

1. Greek Tragedy, Sophocles and Euripides Week 15 Alice Y. Chang

2. 希臘戲劇 悲劇 喜劇 撒特劇(薩提洛斯劇) Alice Y. Chang

3. 悲劇 角色:多半是身分地位高於一般民眾的 英雄、國王、貴族或神祈 劇情:際遇由盛而衰 使用語言較高雅 蘊含積極意義 強烈道德意涵 Alice Y. Chang

4. 喜劇 角色:多半是地位低於一般大眾的人物 劇情:自逆境漸入佳境 使用語言多為一般生活用語 發展晚於悲劇 Alice Y. Chang

5. 撒特劇(薩提洛斯劇) 輕鬆詼諧、滑稽戲謔 語言粗鄙、動作放縱 嘲諷 作為嚴肅悲劇演出後的餘興 Alice Y. Chang

6. 醫神 Asclepius 神殿旁的古希臘劇場 Alice Y. Chang

7. 希臘戲劇 內容:宗教精神、風俗文化 演出場地:天然的露天圓形劇場，圓形廣場為表演區 Alice Y. Chang

8. Alice Y. Chang

9. Alice Y. Chang

10. Alice Y. Chang

11. Theater of Dionysus戴奧尼索斯劇場 Alice Y. Chang

12. Theater of Dionysus Alice Y. Chang

13. Theater of Dionysus Alice Y. Chang

14. 描述戴神生活的雕像 Alice Y. Chang

15. 古希臘悲劇 Alice Y. Chang 真正起源已經不可考。現在一般認為起源於酒神 在祭祀中，合唱隊(Chorus)會表演歌舞祭祀酒神戴奧尼索斯(Dionysus)，這種歌舞被稱為「酒神頌」 。 「酒神頌」發展到後來，逐漸擴大到神話和英雄傳說的範圍——悲劇的形式逐步發展和完善，成為一種固定的敘事體。

16. 皮西斯瑞特斯 Peisistratus Alice Y. Chang 就人類戲劇史而言，皮氏最大的貢獻，是他在西元前534年創立了悲劇競賽。 希臘悲劇與宗教儀式有密切的關係。但是世界大部分的地區都曾有過類似的儀式，唯有雅典才能在那麼早就能把它蛻化成為戲劇~

17. Tragedy= Goat song The word tragedy literally means "goat song," probably referring to the practice of giving a goat as a sacrifice or a prize at the religious festivals in honor of the god Dionysus. Alice Y. Chang

18. 希臘戲劇 早期:ㄧ個演員一個歌隊 Aeschylus 兩個演員一個歌隊 Sophocles 三個演員一個歌隊 日後希臘戲劇維持為三人，ㄧ人分飾多角 Alice Y. Chang

19. Thespians • 希臘戲劇的第一個確切紀錄見之於西元五三四年，這一年「城市的戴神節」組織改變，在各項活動中加入了悲劇演出競賽。 • 戲劇在此以前勢必早已存在，否則不會又有此競賽。這時其中唯一可考的戲劇家就是賽士比斯(Thespis)，也就是第一次悲劇競賽的冠軍得主，並且，由於他也是第一個?是人所知的演員，以後演員們就常被叫做賽士比斯之徒(Thespians) Alice Y. Chang

20. 和諧: 理性與非理性 • 在宗教的領域中，竟然包括了非理念力量，這顯示希臘人相信對自然的每一部分都應適當崇敬，否則災厄就會隨之而產生。 • 希臘人始終努力，要在所有相衝突的力量之間無論是內心的還是外在的，達成和諧。 Alice Y. Chang

21. Sophocles生平 496B.C~406B.C 生於雅典北邊名叫Colonus的村落 受良好教育，擅音樂、體育、舞蹈…等 因為貌美與音樂天賦被推選為慶祝戰爭勝利祭儀中少年合唱團領導 Alice Y. Chang

22. 索福克里斯(Sophocles, 496B.C. - 406B.C.) • 生於一個富裕家庭，當時正適逢雅典城邦的黃金時期，雅典人活於滿懷自信的年代，他們的哲學家相信「人是衡量一切的標準」。 • 但過分的自信令他們傲慢而又熱忱於爭名逐利。當時詭辯學應運而生，處士橫議，傳統的信仰受到挑戰。索福克里斯對這種風尚深感憂慮，在劇本中，他反複出了他的勸導與警告。 Alice Y. Chang

23. Sophocles生平 曾任以雅典為盟主的「德利亞聯盟」的財政總管 兩度被選為將軍(政府的最高官位) 祭師 「生前完滿，身後無憾。」 Alice Y. Chang

24. Sophocles創作 生涯劇作有110部左右(130、125、123) 現存七部戲劇及少數殘本 ㄧ:阿傑克斯(Ajax c.450B.C) 二:安蒂岡尼(Antigone c.442B.C) 三:屈欽妮亞(Trachiniae c.413B.C) 四:伊底帕斯王(Oedipus Rex c.425B.C) 五:伊蕾特拉(Electra c.410B.C) 六:菲洛特提斯(Philoctetes c.409B.C) 七:伊底帕斯在柯隆納斯(Oedipus at Colonus c.401B.C) Alice Y. Chang

25. 索福克里斯改進了舞台設計 • 減低了歌隊在戲劇中的重要性，但更重要的是他首先引進了戲劇中的第三個演員，因而展開了前所未有的複雜性。 • 在他的戲劇中，最關心的是人際關係的問題，而非艾思奇利斯的戲劇所關注的人與神關係的問題，劇中的悲劇英雄大都因自身的性格特點而促使悲劇的發生，而非像艾思奇利斯的悲劇般常涉及宗教力量的。 • 他本人曾說過，他筆下的悲劇英雄都是「他們應當如此」(they ought to be)。 Alice Y. Chang

26. 《伊狄帕斯王》 • 而比起艾思奇利斯的劇本，索福克里斯的作品更注重技巧高潮的建立與片段的完美發展，其中尤以《伊狄帕斯王》最為出色，堪稱索福克里斯甚至是悲劇史上的代表作。 Alice Y. Chang

27. Sophocles 倡民主，反暴政 歌頌英雄主義 佈局複雜嚴密、細緻入微 創作獨立、完整的單部劇本 將演員增加到三個~合唱團退於次要地位 ~自此戲劇無合唱團參與也可獨立進行 Alice Y. Chang

28. Euripides 「舞台上的哲學家」的美稱 悲劇內容大多以家庭生活為題材，討論戰爭、民主、貧富、宗教、婦女地位…等問題 討論雅典奴隸民主制衰弱時期的社會思想 寫實 現存十八部作品，是傳世作品最多的古希臘悲劇家 Alice Y. Chang

29. 阿里斯陶芬尼斯(Aristophanes)與米南得爾(Menander)。阿里斯陶芬尼斯(Aristophanes)與米南得爾(Menander)。 • 雖然古希臘的戲劇有好幾個世紀的歷史，留存至今的卻只有五個劇作家的作品愛斯奇勒勒斯(Aeschyles)，索發克里斯(Sopholes)，優里皮底斯(Euripides)，阿里斯陶芬尼斯(Aristophanes)與米南得爾(Menander)。 • 而他們的大量劇作中，僅存的也不過四十五個其中三十二個悲劇，十二個喜劇，一個撒特劇(satyr p Lay)，除了其中四個之外，所有的這些劇本都做於西元前第五世紀。 Alice Y. Chang

30. Recurrent Themes in Tragedy P.148 Von Reden, Sitta. Exchange in Ancient Greece. London: Duckworth, 1995. Alice Y. Chang

31. First • There is a general reflection upon the tension between nature and civilization which thought to be controlled by marriage, sacrifice, and agriculture. Alice Y. Chang

32. Secondly • There is a vital concern about the relationship between oikos and polis and their conflicting claims to the loyalty (philia) of their members; Alice Y. Chang

33. Thirdly • There is an extended debate on the relationship between Athenian law and divine nomos; Alice Y. Chang

34. Fourthly • Most plays contain a self-reflexive debate on linguistic exchange, the power of logoi and their manipulative force on society and its individual members; Alice Y. Chang

35. Finally • They are framed in a discourse which uses Homeric imagery and mythology for the discussion of contemporary problems. Alice Y. Chang

36. All these themes are interlocked. • This not only ties together scenes which seem at first unconnected, but also gives a complex meaning to every individual image. Alice Y. Chang

37. From Aeschylus to Sophocles Alice Y. Chang Aeschylus belonged tothe generation that fought at Marathon; his manhood and his old age were passed in the heroic period of the Persian defeat on Greek soil and the war that Athens fought to liberate its kin in the islands of the Aegean and on the Asiatic coast. Sophocles, his younger contemporary, lived to see an Athens that had advanced in power and prosperity far beyond the city that Aeschylus knew.

38. Involvement in city’s affairs Alice Y. Chang The league of free Greek cities against Persia that Athens had led to victory in the Aegean had become an empire, in which Athens taxed and coerced the subject cities that had once been its free allies. Sophocles, born around 496 B.C., played his part—a prominent one—in the city’s affairs.

39. treasurer • In 443 B.C. he served as one of the treasurers of the imperial league and, with Pericles, as one of the ten generals elected for the war against the island of Samos, which tried to secede form the Athenian league a few years later. Alice Y. Chang

40. A special committee Alice Y. Chang When the Athenian expedition to Sicily ended in disaster, Sophocles was appointed to a special committee set up in 411 B.C. to deal with the emergency. He died two years before Athens surrendered to Sparta.

41. 129 plays Alice Y. Chang His career as a brilliantly successful dramatist began in 468; in that year he won first prize at the Dionysia, competing against Aeschylus. Over the next sixty-two years he produced more than 120 plays. He won first prize no fewer than twenty-four times, and when he was not first, he came in second, never third.

42. No acting in his own plays Alice Y. Chang Aeschylus had been an actor as well as a playwright and director, but Sophocles, early in his career, gave up acting. It was he who added a third actor to the team; the early Aeschylean plays (Persians, Seven Against Thebes, and Suppliants) can be played by two actors (who of course can change masks to extend the range of dramatis personae).

43. The third actor Alice Y. Chang In the Oresteia, Aeschylus has taken advantage of the Sophoclean third actor; this makes possible the role of Cassandra, the one three-line speech of Pylades in The Libation Bearers, and the trial scene in The Eumenides. But Sophocles used his third actor to create complex triangular scenes like the dialogue between Oedipus and Corinthian messenger, which reveals to a listening Jocasta the ghastly truth that Oedipus will not discover until the next scene.

44. Seven extant plays Alice Y. Chang • We have only seven of his plays, and not many of them can be accurately dated. • Ajax (which deals with the suicide of the hero whose shade turns silently away from Odysseus in the Odyssey) and Trachiniae(the story of the death of Heracles) are both generally thought to be early productions. Antigoneis fairly securely fixed in the late 440s, and Oedipus the King was probably staged during the early years of the Peloponnesian War (431-404 B.C.).

45. Electra, Philoctetesand Oedipus at Colonus Alice Y. Chang For Electra we have no date, but it is probably later than Oedipus the King. Philoctetes, a tale of the Trojan War, was staged in 409 B.C. and Oedipus at Colonus, which presents Oedipus’s strangely triumphant death on Athenian soil, was produced after Sophocles’ death.

46. Intellectual revolution Alice Y. Chang Most of these plays date from the last half of the fifth century B.C.; they were written in and for an Athens that, since the days of Aeschylus, had undergone an intellectual revolution. It was in a time of critical reevaluation of accepted standards and traditions that Sophocles produced his masterpiece, Oedipus the King, and the problems of the time are reflected in the play.

47. Mysterious + contemporary Alice Y. Chang The use of the familiar myth enabled the dramatist to draw on all its wealth of unformulated meaning, but it did not prevent him from striking a contemporary note. Oedipus, in Sophocles’ play, is at one and the same time the mysterious figure of the past who broke the most fundamental human taboos and a typical fifth-century Athenian. His character contains all the virtues for which the Athenians were famous and the vices for which they were notorious.

48. Pecicles and Oedipus Alice Y. Chang The Athenian devotion to the city, which received the main emphasis in Pericles’ praise of Athens, is strong in Oedipus; his answer to the priest at the beginning of the play shows that he is a conscientious and patriotic ruler. His quick rage is the characteristic fault of Athenian democracy, which in 406 B.C., to give only one instance, condemned and executed the generals who had failed, in the stress of weather and battle, to pick up the drowned bodies of their own men killed in the naval engagement at Arginusae.

49. I must know! Know thyself! Alice Y. Chang Oedipus is like the fifth-century Athenian most of all in his confidence in the human intelligence, especially his own.

50. EURIPIDES 480-406 B.C. Alice Y. Chang