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| High place. The hill where Lysistrata and the women met. Where the women took over, the state treasury lies here. |
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the french alexandrine verse. Opposite of the english blank verse.
Rhymed
Characters blended together
Formal Pattern
Strict couplets
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- Sound is not supported by acoustics, but is not as much of an issue as one would think
- Subject to natural elements (rain, snow, heat)
- You see the actors, as well as the natural world behind them
- Play is much more ritual and ceremonial
- THe emotions and reactions are much larger and defined in order to be seen.
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Venus, Goddess of women. Healing energy. Women are more capable and intelligent.
Feminism. |
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| God of music, poetry and plague. |
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Mars.
God of men. Men are a compeeting force. God of war, whipping creatures apart. |
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| Drama is a form of catharsis. This was a technique that allowed people to let their emotions out through release. |
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- Plot
- Character
- Thought (theme)
- Diction (Language)
- Music (Rhythm, acting)
- spectacle (stagecraft)
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| A character speaks directly to the audience. |
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| A character speaks to himself in front of an audience. |
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| A child of Zeus. Legend: born from from her father's head in a suit of armor. Uses her reasoning to protect herself. |
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- Unrhymed Iambic Pentameter
- Similar to every day speak intonation
- Neutral, not strict
- Active, rhythm sometimes becomes broken, fragmented and smooth
- Practical, uses the least words possible, creates a beat and is an obvious tempo which makes the lines easier to memorize.
- Performative, the sense and feeling is easily received.
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| The comedy of the artists. Moliere was involved. Improv skits. They only did one rough scene. |
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| Dealing with Lysistrata, the public world, thought to be the man's place. |
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God/man- the human form that he takes on is a weak priest, whicle he is in fact a powerful god.
God of Wine |
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| Dionesian festivals with religious choruses. |
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| Emotional release, let's pressure out. Something believed in by Aristotle. |
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| City in Athens where the yearly festival is held. |
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| Presentation of all themes. Greek word for ladder. |
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| Everyone in society had to conform to behaviors that were true to their social class. |
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greek word for drama
"To act. To do" |
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| 8th century greek theatre |
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| Cupid: women and men are equal to the subject of desire. |
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| Provide background information, inform the reader about the plot and characters, setting and theme. |
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| Regulates the french language. 40 people who update the language. |
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| the theatre is a little microcosum. Looking at it from above becomes a circle. The stage is the center of the globe or the heart of the universe. |
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| a philosophical approach that focuses on human values and concerns. |
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| Where we find an emotional connection towards the characters in a play. |
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| The type of theatre where they use the illusion of real life on stage to depict real life |
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| turning the expected of familiar upside down. |
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"song of the revelers"
(party song) |
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| There was nothing rash or sudden about opening a place. You had to get the theatre licensed. |
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| The idea of a threshold, a doorway, a boundary. IN theatre, these boundary lines overlap and change between what is acting and what is the truth. Life and art becomes a two way street. Art reflects life and life reflects art |
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| In character will do anything for power. Hamlets uncle, for example. |
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| art within art that makes us question reality and fictions. Characters adopt a disguise. Pretending to be innocent or pretenting to be insane. Makes surrounding action seem more real and authentic |
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| New way art from 1622-1673. Went through Louis the 13th and 14th |
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| the idea of exaggerating things on stage and not attempting for things to be lifelike. |
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| Kable's Krucial Keeys to Komedy |
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1. objectivity
2. surprise
3. exposure/deflation |
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| Running the home, economics, believed to be a woman's fate. |
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| Arisophenese is the only classic comitist whose techniques have survived. Wide range of comic devices along with political messages. |
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| the temple of the goddess, Athena. Where the women are gravidtating towards in the beginning of Lysistrata |
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431 BC
Between the Athens and the SPartains |
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Invisions his ideal society
There would be no theatre or drama
Thinks Aristotle uses too much emotion
This threatened the stability of the rational self and thought that emotions took over the power of reason. |
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used by neo-classicism
archway, everyone facing the same way, scenery, women |
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| Many people were puritians during the renaissance. |
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| Established the French Acadamy |
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| the actors, the make up artists, the set makers, everyone puts their money togeter and was equally as responsible for the scess of a play and was competing against the other theatres. |
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"seeing place"
reinforces of greek drama. Appeals to our minds and vision. |
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| Surrounded on three sides. Shakespeares plays. |
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| "The history of the peloponnesian war." Young and old fell in love with the enterprise. |
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Neoclassical unities
Stock characters
Formal styalized verse
neoclassical form
commedia
freedom
Stealth comedy
Subversive |
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| reality outside of the play, nothing is resolved, while everything is fixed in the play |
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