Loading in 2 Seconds...
Loading in 2 Seconds...
Group 5 Oral Report David Fasolino, Robert Frick, Dusty Robinson, Hilda Medina, Tamie Thompson, Angie Hambleton. About Aristotle. By Tamiane Thompson. His early years. Aristotle was born in stagria, on the border of Macedonia in 384 bce His mother, Phaestis, was from a family of doctors
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
David Fasolino, Robert Frick, Dusty Robinson, Hilda Medina, Tamie Thompson, Angie Hambleton
By Tamiane Thompson
Aristotle’s Poetics, written at about 335 BCE, is considered to be the first systematic critical theory in the world. For nearly 2,000 years it has inspired the thoughts of writers, philosophers and critics.
Aristotle identifies tragedy as the most refined version of poetry, among the three genres (Tragedy, Epic, and Comedy)
Aristotle’s defines many key literary components such as mimesis (imitation), muthos (plot), anagnorisis (discovery), periperteia (reversal), hamartia (misjudgment), and catharsis (purifying or relieving of emotions).
Tragedy ... is an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; through pity and fear effecting the proper catharsis of these emotions.
Poetics was not widely influential during it's time, but during the Age of Enlightenment, Aristotle's views shaped the concept of tragedy.
Aristotle, Malcolm , and Heath . Poetics. 1st ed. New York: Penguin Group Incorporated, 1997.
Aristotle, and W. Rhys Roberts . Poetics and Rhetoric. 1st ed. New York: Barnes & Noble, 2006.
Waggoner, Ben. "Aristotle." 09 June 1996. UCMP Berkeley. 8 Sep 2008 <http://www.ucmp.berkeley.edu/history/aristotle.html>.
"Poetics (Aristotle)." Wikipedia. 2008. Wikimedia Foundation, Inc.. September 9 2008 <http://en.wikipedia.org/wiki/Poetics_(Aristotle)>.
"Poetics: 1780 Edition." Online Image. Wikisource. No date. September 9 2008 <http://upload.wikimedia.org/wikisource/en/thumb/d/d5/Aristotle_poetics.jpg/335px-Aristotle_poetics.jpg>.
"Tragedy and Comedy Masks." Online Image. civillibertarian.blogspot.com. 2007. Sep 9 2008 <http://tbn0.google.com/images?q=tbn:iV0YLmkqOMTBnM:http://bp0.blogger.com/_9qHzlJ2hzJ8/RfbKPhkaktI/AAAAAAAAAbk/EytnkW9qXeA/s400/ComedyTragedy.jpg>.
Unified construct of necessary and probable actions to change future
The best way of presenting tragic pleasure
“The change of fortune from good to bad should come about as a result, not of vice, but some great error of frailty in character.”
By Hilda Medina
Aristotle felt that the tragic hero was neither completely good nor completely evil.
This hero will also be able to provoke our pity and fear.
This hero also must have hamartia, which means a fatal flaw.
The most common hamartia in Greek tragedies was pride.
Orchestra: The orchestra (literally, "dancing space") was normally circular. It was a level space where the chorus would dance, sing, and interact with the actors who were on the stage near the skene. The earliest orchestras were simply made of hard earth, but in the Classical period some orchestras began to be paved with marble and other materials. In the center of the orchestra there was often a thymele, or altar. The orchestra of the theater of Dionysus in Athens was about 60 feet in diameter.
Theatron: The theatron (literally, "viewing-place") is where the spectators sat. The theatron was usually part of hillside overlooking the orchestra, and often wrapped around a large portion of the orchestra (see the diagram above). Spectators in the fifth century BC probably sat on cushions or boards, but by the fourth century the theatron of many Greek theaters had marble seats.
Skene: The skene (literally, "tent") was the building directly behind the stage. During the 5th century, the stage of the theater of Dionysus in Athens was probably raised only two or three steps above the level of the orchestra, and was about 25 feet wide and 10 feet deep. The skene was directly in back of the stage, and was usually decorated as a palace, temple, or other building, depending on the needs of the play. It had at least one set of doors, and actors could make entrances and exits through them. There was also access to the roof of the skene from behind, so that actors playing gods and other characters could appear on the roof, if needed.
Parodos: The parodoi (literally, "passageways") are the paths by which the chorus and some actors (such as those representing messengers or people returning from abroad) made their entrances and exits. The audience also used them to enter and exit the theater before and after the performance.
Machina, a crane that gave the impression of a flying actor (thus providing deus ex machina).
Ekkyklema, a wheeled wagon used to bring dead characters into view for the audience
Trap doors, or similar openings in the ground to lift people onto the stage
Pinakes, pictures hung into the scene to show a scene's scenery
Thyromata, more complex pictures built into the second-level scene (3rd level from ground)
Phallic props were used for satyr plays, symbolizing fertility in honor of Dionysus.