II. The main representatives of Greek literature in V in

In the field of dramatic poetry between Eshil, Sophokl and Euripid, who belonged to different generations, is noticed a big difference. is a representative of a generation that was still imbued with testaments of antiquity and in religious, and politically.Hero-Patriot, fought at the Marathon, he graduated from life in Syracuses at the court of Tirana Gieron, leaving his native attic when the predominance of democracy received in Athens. The tone of his tragedies is an exalted, religious, and its actors are not ordinary mortals, but gods and heroes. The most majestically is Prometheus,chained with Zeus to the rock for the abduction of the Divine Fire, but not wishing to conquer Zeus. The hero puts himself a mercure of the human genus the benefits and loudly complains of the injustice of Zeus. This is an uprising human spirit Against the fate of him, but in the end, Prometheus is punished for his resistance.

She belonged to that generation, in which a democratic device was established in Athens. Heroes of Sophoclastic tragedies ("Oedip Tsar", "Antigona", "EDIP in Colon") no longer gods and demigods, and ordinary people, and he depicts not only the external fate, but also the internal movements of their souls, their characters, doubts of their conscience, their internal struggle. So his drama is humane closer to real lifethan to mythological imagescreated by the creative fantasy of the Greeks. However, Sophokl still idealized by the persons withdrawn in the tragedy: his people, according to his recognition, are not as they actually, and what can be, i.e. Or perfect samples of virtue, or, on the contrary, perfect villains. Not to reach another thirty years old, Sophokl won Eshil in a poetic competition, because more consistent with the world of Pericla's Afinyan. On the political direction of the Sophokla is best known to friendship, which tied him with pericles.

155. Euripid.

The third great dramatic poet Euripid. , the years was very few younger sofokla, but he is already educated and lived in the era of the full development of democracy and the new philosophical movement.Euripide was a decisive opponent and oligarchy, and the Tirani and the first in Athens began to use theatrical scene in order to preach new ideas, using the rhetoric already emerging at the time. His actors are completely ordinary people with all the weaknesses inherent to person, and in its tragedies, disputes about different complex and difficult issues of morality or politics, and a direct and clear answer to them, without hesitation and doubt, is not given. Therefore, the audience went with the presentation

Social, ethical, political problems, education issues, deep outlines heroic charactersThe topic of high civil self-consciousness constitute the life-affirming basis of the ancient Greek theater.

However, as we have already mentioned above, Tronsky notes that the characteristic feature of the ancient Greek tragedies was "suffering." He explains this as follows: "The interest in the problems of" suffering "was generated by religious and ethical ferments of the VI century, the struggle that the developing slave class of the city led, relying on the peasantry, against the aristocracy and its ideology, the Democratic Religion of Dionysis played in this struggle. The role and advanced by tyrants (for example, a piscistat or clisphen) in contrast to local aristocratic cults. In the orbit of new problems, and myths about the heroes belonged to the main stamps of the polis life and who were one of the most important parts in the cultural wealth of the Greek people could not be accessed. At the same time rethinking greek myths Not epic "feats" and not an aristocratic "valor", and the suffering, "passions", which could be depicted in the same way as "passions" dying and resurrecting gods were depicted; This way it was possible to make a myth of the expressive of a new globility and extract material from it for topical in revolutionary era Vi in. Problems of "Justice", "Sin" n "Radiation" [Tronsky: 1983, 109].

Genuine founder of an ancient Greek tragedy became Eschil. He is the author of more than seventy works, of which only seven were reached by us: "Persians", "begging", "Seven Visori", "Chained Prometheus", "Agamemnon", "Hoefors", "Eurmina". All the pieces of Eschila are permeated with a strong religious feeling, they are based on the conflict between human passions and spirituality.

Eschil was the founder of civilian in his ideological sound of the tragedy, a contemporary and a member of the Greek-Persian wars, the poet of the formation of democracy in Athens. Chief motif His creativity is the glorification of civilian courage, patriotism. One of the most remarkable heroes of the tragedy of Eschila is an irreconcilable Borer Prometheus - the personification of the creative forces of Athenian. This is an image of an inflexible wrestler for high ideals, for the happiness of people, the incarnation of the mind overcoming the power of nature, the symbol of the struggle for the liberation of humanity from tyranny, embodied in the image of a cruel and vengery zeus, who preferred to the slave ministry.

The plots of his tragedies are simple and amusing, as in ancient epic poems. In "Promethea" there are gods and demigods. The plot of the tragedy "Seven vs. FIV" is a civil war, cumulating the death of brothers who challenged the power of the government over his hometown. The plot of "Oresthei" - the struggle of maternal law (matriarchate) with his father's (patriarchy): the son of Mastit for the death of the father killed by his mother; The keeper of the maternal law - Erinnia get up to defend the murdered, but the Mother of God defends God Apollo, Father's Guader. Everywhere - not the events of privacy, but the shocks that are important in the life of whole tribes and peoples. The action is built like the cyclopic facilities. ancient Greek architecturewhere colossal stones not bonded by cement are sticking to each other. There are also ambitious and acting faces. Their characters are monolithic and do not change during the tragedy. They can also remind the statues of archaic greek sculpture With the frozen expression of the face. Sometimes they are silent for a long time at the beginning of action. "Power" and "Strength" are caught promoting to a rock, but from the breast of Titan, neither breath is not broken, no moan. Silent, without answering questions, in the tragedy "Agamemnon" Trojan captive - the propheted Kassandra and, only feeling the murder coming over the scene, begins to talk about him in the mysterious words interrupted by screams. Sometimes the whole tragedy sounds like a solid plaintive moan and crying. These are the "praying", where the main person is the choir of unfortunate girls looking for protection from the pursuers among the residents of Argos. Such and "Persians", where the Choir and Queen of Atosts, the mother of the defeat of the Persian king of the Quers, mourn the death of troops and the shame of the state. If Eschil has expanded the dialogues - he nevertheless left the role of an important person. Conversations of persons all the time are interrupted by the songs of the choir, as if the characters of the tragedy speak and echoes each other on the shore of the ever-noisy sea.

For the images of Eschil, we all feel their author all the time. Of course, our conclusions about it are only expected: after all, they are made on the basis of only seven who came to us tragedy. But they also allow you to say that the poet belonging to the Greek aristocracy was by no means a man classically limited. Flame patriot, highly raised the freedom of the Athens Republic, he at the same time was an opponent of the indigenous breaking of institutions remaining from the past. This aristocrat argued, however, that the truth loves the humble huts of the poor and avoids palaces. The man is deeply religious, the admirer of Zeus, he portrayed the Supreme God in the "Prometheus" of a cruel tyrant, and his opponent did eternal symbol Fighter revolutionary, enemy of all sorts of violence.

Initially, the Greek gods did not have that noble and beautiful appearance, which they received later in sculpture and poetry. These primitive gods were rude personification of nature forces. In the V century to new era They became humanlike and fraud. Eschila, they often retain their ancient nature. And at the same time, they reborn, evolve. Brutal Zeus, which we see it in the "Prometheus", further apply to Eschil into a poor, prompting the whole world of the deity, the embodiment of wisdom and justice. Erinnia in the last part of the "Oresthei" become eurmini, favorabled by the goddesses, the personification of those torment of conscience that do not lie, and heal the souls. They, by the will of the goddess of Athens, are weaving within its city to guard him from the rigament.

Eschil lived and worked on a fracture of two eras when the concepts associated with the era of communal-generic life were taken, and newly imbued with greater humanity were harvested, more freedom Human thought.

Also a great playwright Ancient Greece It is considered sofocl. He wrote 125 dramas, from which seven tragedies were preserved: "Antigona", "Ajax", "Edip-Tsar", "Electra" and others. According to Aristotle, Sofokl portrayed people ideal, whereas Euripid - such as they are on actually. Evripid was rather a commentator, not a participant in the events, was deeply interested in female psychology. The most famous of the 19 products that came to us are "Medea" and "Fedra".

A feature of all ancient drams was a choir that singing and dances accompanied all the action. Eschil introduced two actors instead of one, having reduced the part of the choir and focusing on the dialogue, which was a decisive step to transform the tragedy from a purely mimic choir lyrics in a true drama. The game of two actors made it possible to strengthen the strength of action. The appearance of the third actor is the innovation of Sofokla, which made it possible to outlines various lines of behavior in the same conflict.

Sophocla has common features With Eschil, but there are noticeable differences. Like Eschil, Sofokl dramatizes epic legends. But he does not apply to the plots of modern life, just as Eschil in Persons. Dramatic myth is generally feature Ancient Greek tragedy. It does not follow from this that this tragedy was far from the living life and malicious day. It should not be the fact that the tragedy once retained its ancient religious character forever.

The authors appealed to the myths, knowing that they were familiar to most viewers, and hoping to cause interest among the public was not the originality of the fictional plot, but its processing, interpretation of images, by name and stories of well-known public. The authors did not consider themselves obligated to accurately adhere to the most common version of the myth and under the cover of an old legend completely and nearby were discussed by the mouth of the actors and choir, the questions that had the most topical importance for Athenian citizens. On the other hand, the appeal to the mythical images taken from the old legends allowed the Eschil and Sofokla to derive the heroes on the scene, somewhat elevated above the level of everyday reality. The words are attributed to the words that he portrayed "people as they should be", that is, it gave widely generalized characters, emphasizing their highest, heroic aspirations in people, revealing all the wealth of the spiritual properties of man.

It is on attention to a person, to his inner world, to his sufferings, to his boroba with the transformations of fate and is the main difference between the images of the sofocla from the monumental and frequently static images of Eschil. The person in the tragedies of the Sofokla is more independent, the action is more due to the properties of the nature of the main person who is the cause of his happiness and its misfortunes.

The famous choir in Antigonia is the most majestic anthem to man who reached us from antiquity. The choir glorifies a person - the most wonderful and powerful of everything that is in the world. The man subordinate to himself and the earth, and the sea, and the whole world of animals. But its glorification of a person, sofokl limits substantial reservations. The human mind does not always lead people to Dombra, and can lead to evil and to injustice. With all its power, a person is helpless before death. And not only before death, but (this is not said in the choir "Antigona") and before destiny. The will and mind of a person are limited even more powerful forces. The conflict between man and fate is the basis of the most famous from the tragedy of Sofokla - "King Edip".

The last of the tragic poets, from which entire plays reached us is Euripide. In his tragedies, he reflected the crisis of the traditional polis ideology and the search for the new foundations of the worldview. He sensiblely responded to the burning issues of political and social LifeAnd his theater was a kind of encyclopedia of the Intellectual Movement of Greece in the second half of the V c. BC e. In the works of Euripid, a variety of public problems were set up, new ideas were presented and discussed.

Antique criticism called Euripid "philosopher on stage". The poet was not, however, a supporter of a certain philosophical teaching, and his views did not differ in consistency. Dual was his attitude to Athenian democracy. He glorified her as a system of freedom and equality, at the same time, he was frightened by the poor "crowd" of citizens, which in the people's assembly solved questions under the influence of demagogues. Through thread, through all the work of Euripid passes interest in person with its subjective aspirations. The great playwright depicted people with their attractions and gusts, joys and suffering. Evripid forced the audience to think over her place in society, over his attitude towards life.

Thus, it can be concluded that the heroes ancient tragedy In the interpretation of different authors looked differently, but always it was strong-willed Persons who challenged fate, not wanting to subdue higher power, wanting to choose your own life Path. They expressed worried poets and spectators of social, moral and philosophical problems.

Conclusion

Reaching large ideological and art heights, antique Theater. laid the foundations of the entire subsequent development of the European Theater. It can be safely argued that the theaters of ancient Greece became the basis for the subsequent development of theatrical art, which continues today. Ancient Greek dramaturgy has had a huge impact on the development of world literature. It was affected by socio-political and philosophical issues, it is characterized by the saturation of patriotism ideas, attention to a person with all the wealth of his spiritual life, a deep outright of heroic characters, raising the consciousness of the audience.

Thus, the following general conclusions on the topic considered by us are:

1. Being for its origin, the theater has already become a socially significant phenomenon. And, receiving support at the state level, being an important part of the life of the policy, the theater was also an integral element public Life, expressive sentiment of citizens of ancient Greece.

2. Organization theatrical action It was well debugged, and although the nature of the action itself was conditional in nature, costumes and scenery were poor, all this was compensated by the game of actors, including the choir and the presence in the plays of the moral component: suffering, crying, which determined the sign of the public and the general nature of the executable works.

3. Social, ethical, political problems, education issues, deep outlining of heroic characters, the topic of high civil self-consciousness constitute the life-affirming basis of the ancient Greek theater.

The drama (from the Greek Drama - action) was born in Greece in the 6th century BC, when the slave-owned construction and the center of cultural life of Greece became finally established athens. On days of certain holidays, the Antique Theater collected the entire population of the city and the surrounding area.

The predecessor of the appearance of the drama in Greece became a long periodDuring which the leader occupied the Epos and Lyrics. The drama was a kind of synthesis of the achievements of previously formed literature generics, including the "epic" heroic, monumental character and "lyric" individual principle.

The emergence and development of the Greek drama and theater is connected, first of all, with the ritual games of a mimic nature, which in the early level of development were celebrated in many nations and were preserved for centuries. The Mimic Games of Agricultural Peoples were part of the holidays dedicated to the dying and resurrecting gods of fertility. Such holidays had two sides - serious, "passionate", and carnival, glorifying the victory of the bright forces of life.

In Greece, rites were associated with the cult of gods - the patrons of agriculture: Dionysus, Demeters, her daughter Persephone. On holidays in honor of God, Dionysus has solemn and funny carnival songs. The noisy fun arranged the ones, which were included in Dionysus's Speed. Participants in the festive procession in every way "masked" their face - smeared his wine thick, put on masks and goat skins.

Three genres lead from ritual games and songs in honor of Dionysis ancient Greek Drama - Comedy, tragedy and Satirovskaya drama.

An integral part of folk festive actions related to agricultural work was singing with dances. Of these, the classic Athenian tragedy appeared later.

Theater had two platforms. One - the scene - it was intended for the actors, the other - Orhestra - for the choir of 12 - 15 people.

Ancient Greeks believed that in the theater should be revealed by the total and deep topics, glorify high quality Human spirit and make rinking flavors of people and society. Man, looking at the drama, should experience a spiritual, moral shock. In the tragedy, competing heroes, the viewer should cry, and in the comedy - the type of drama, the opposite tragedy, is to laugh.

The ancient Greeks created such theatrical forms as a monologue and dialogue. They widely used the multi-faceted operation in the drama, applying the choir as a commentator about the events. The choral warehouse was one-haired, sang in unison. Men's choirs prevailed in professional music.

In the ancient Greek theater there were special buildings - amphitheaters designed specifically for acting and spectator perception. It uses scenes, scenes, a special layout of seats for the audience, used in the modern theater. Ellina created scenery to performances. The actors used the special pathetic manner of utterance of the text, widely used a pantomime, expressive plastic. However, the mimic expressiveness was not consciously used, they performed in special masks, symbolically reflecting the generalized image of joy and grief.

The tragedy (the type of drama immembers of the tragic pathos) was intended for the wide layers of the population.

The tragedy was a reflection of the passionate side of the Dionysian Cult. According to Aristotle, tragedy, leads its origin from singers Diffiram. Dialogue fought with chorus gradually mixed elements acting game. The word "tragedy" comes from two greek words: TRAGOS - "Goat" and Ode - "Song". This name leads us to satire - Gongeutive creatures, Dionysis satellites who glorify the feats and suffering of God. The Greek tragedy, as a rule, borrowed the plots of mythology well known to each Greek. The audience's interest was not concentrated on Fabul, but on the author's interpretation of myth, on public and moral issueswhich unfolded around all the famous episodes of myth. Within the framework of the mythological shell, the playwright reflected in the tragedy to the modern socio-political situation, expressed his philosophical, ethnic, religious views. It is not by chance that the role of tragic ideas in the socio-political and ethical education of citizens was huge.

The tragedy has reached significant development in the second half of the 6th century BC. According to the ancient tradition, the first Athenian tragic poet is considered to consider Fespid in the spring of 534 BC. At the celebration of the Great Dionysius, the first statement of his tragedy took place. This year is considered as the year of birth of the world theater. Fespid is attributed to a number of innovations: for example, he improved masks and theater costumes. But as the main innovation of the Fespid is called the allocation of one performer, the actor, from the choir. Hypoprite ("respondent"), or actor, could answer the questions of the choir or contact the chorus with questions, leave the stage platform and return to it, depict during the action of various heroes. Thus, the early Greek tragedy was a kind of dialogue between actor and chorus and rather resembled Cantat. At the same time, it was the actor from his very appearance that became a carrier of an effective energetic start, although his party quantitatively in the original drama was insignificant ( the main role Hyborged).

Frieri, a student of the Fespid, an outstanding tragic of the era to Eshil, "spread" the story frames of the tragedy, brought it beyond the limits of Dionysian myths. Frierry is famous for the author of a number of historical tragedies that were written on the fresh tracks of events. For example, in the tragedy "Taking Mileta" presented to Perseys in 494 BC. The cities of Mileta, who rebelled against the Persian dominion, together with other Greek cities of Malaya Asia. The play so shocked the audience, which was banned by the authorities, and the author himself was sentenced to the cash fine.

The works of Fespid and Friniix did not reach this day, information about their theatrical activity few, but they show that the most first playwrights actively responded on actual questions Modernity and sought to make the theater by the place of discussion of the most important problems of public life, the Tribune, where the democratic principles of the Athenian state were approved.

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Greek tragedy is one of the oldest samples of literature. The article illuminates the history of the theater in Greece, the specifics of the tragedy as a genre, the laws of building the work, and also lists the most famous authors and works.

History of development of the genre

The origins of the Greek tragedy should be sought in the ritual Dionysian holidays. Participants of these celebrations depicted from themselves the most famous satellites of the god of wine - Satirov. To achieve greater similarities, they wore masks imitating goat heads. The festivities were accompanied by traditional songs - di-grasis dedicated to Dionysus. It was these songs that were based on an ancient Greek tragedy. The first works were created by the sample of Bakhus legends. Gradually began to transfer others to the scene mythological scenes.

The word "tragedy" is formed from TRAGOS ("Goat") and ODE ("Song"), i.e. "Song of the goat.

Greek tragedy and theater

The first theatrical ideas were closely connected with the cult of Dionysis and were part of the ritual of praising of this God. With the growing popularity of such ideas, the authors have become increasingly to borrow plots from other myths, and gradually the theater lost its religious importance, acquiring more and more secular traits. At the same time, on the stage, the propaganda ideas dictated by the current government began to sound increasingly.

No matter what the play was based on the basis of the play - state events or legends about the gods and heroes, theatrical ideas remained significant events in the life of society, perpetuating the title for the tragedy high genre, as well as the dominant position in the genre system of all literature as a whole.

For theatrical ideas, special buildings were constructed. Their capacity and convenience of location made it possible to organize not only actors' performances, but also folk assembly.

Comedy and tragedy

Ritual ideas marked the beginning of not only the tragedy, but also comedy. And if the first comes from the diffiram, then the second takes on the basis of phallic songs, as a rule, obscene content.

Greek comedy and tragedy distinguished themselves with plots and actors. Tragic ideas were told about the acts of gods and heroes, and ordinary people became characteristics of the comedy. Usually it was the nearby rural residents or bore-leaf political figures. Thus, the comedy could become a tool for expressing public opinion. And it is precisely the same that the belonging of this genre is associated with "low", i.e., landed and pragmatic. The tragedy was also presented with something sublime, the work, where it was said about the gods, heroes, irresistibleness of rock and the place of man in this world.

According to the theory of the ancient Greek philosopher of Aristotle, during the viewing of the tragic presentation, the viewer is experiencing catharsis - cleansing. This is due to the empathy of the fate of the hero, a deep emotional shock caused by death central Character. Aristotle attached great importance to this process, considering it a key feature of the genre of the tragedy.

Genre Specificity

The genre of the Greek tragedy is based on the principle of three unity: places, time, actions.

Unity of the site limits the action of the play in space. This means that throughout the performance, the heroes do not leave one location: it all starts, occurs and ends in one place. Dictated such a requirement was the lack of decorations.

The unity of time suggests that the events occurring on the scene are stacked at 24 hours.

Unity of action - there can be only one key plot in the play, all secondary branches minimize.

Caused by these frameworks that the ancient Greek authors tried to bring the most appropriate as possible on stage to real life. About those events that violate the requirements of the trinity, but necessary for the development of action, the viewer was reported in the declaration of messengers. It concerned everything that happened outside the scene. However, it is worth noting that with the development of the genre of the tragedy, these principles began to lose their relevance.

Eschyl

The father of the Greek tragedy is considered by Eschil, who created about 100 works, from which only seven came to us. He adhered to conservative views, considering the ideal of statehood the republic with a democratic slave-owner. This imposes an imprint on his work.

In his works, the playwright addressed the main problems of its time, such as the fate of the generic system, the development of the family and marriage, the fate of a person and the state. Being deeply religious, he sacredly believed due to gods and the dependence of the fate of a person from their will.

Distinctive features Creativity of Eschila are: ideological elevation of the content, solemnity of filing, the relevance of the problems, the majestic harness of the form.

Muza tragedy

Greek Museum The tragedy was Melpomen. Her canonical image is a woman in a wreath of ivy or grape leaves, also its constant attributes were a tragic mask, symbolizing regret and sorrow, and the sword (sometimes the clocks), resembling the inevitability of punishment for those who violate the Divine Will.

Daughters Melpomen possessed unusually beautiful voicesAnd their pride gone so far that they challenged other muses. Of course, the contest was lost. For the audacity and disobedience, the gods shook the daughters of Melpomen, turning them into a siren, and the mournful mother became the patronage of the tragedy and received its distinctive signs.

Structure of tragedy

Theatrical performances in Greece took place three times a year and built on the principle of competitions (agons). Three author tragedies participated in the competition, each of which was three tragedies and one drama, and three comedy poet to the court. Theater actors were only men.

Greek tragedy had a fixed structure. The action began with the prolobe, which performed the task function. Then followed the song of the choir - Paroda. After that, they followed the episeodia (episodes), which later became known as acts. The episodes were intermitted by the songs of the choir - Stamimami. Each episeodi ended Commos - a song performed by the choir and hero together. The whole play ended with the exode that all the actors and choir sang.

Choir - a member of all Greek tragedies, he was of great importance and fulfilled the role of a narrator, assisting in the transmission of the meaning of what was happening on the stage, giving an assessment of the acts of acting persons from the position of morality, revealing the depths of spiritual experiences of heroes. The choir consisted of 12, and later 15 people and during the entire theatrical action of his place did not leave.

Initially, only one actor acted in the tragedy, he was called the protagonist, he led a dialogue with the choir. Later, Eschil introduced the second actor called the Devteragonist. Conflict could arise between these characters. The third actor is a tritagonist - Sofokl introduced the stage view. Thus, the ancient Greek tragedy reached the top of its development.

Traditions of Euripid

Euripide introduces intrigue, applying a special artificial reception to its permission, named Deus Ex Machina, which means "God from the car". He radically changes the value of the choir in theatrical representation, reducing his role only to musical accompaniment and depriving the dominant position of the narrator.

The traditions established by Euripid in the construction of the presentation were borrowed by the ancient Roman playwrights.

Heroes

In addition to the choir, the participant of all Greek tragedies - the viewer could see the embodiment of mythological characters known since childhood. Despite the fact that at the base of the plot, one or another myth was always lay, the authors often changed the interpretation of events depending on the political situation and their own goals. No violence should have been shown on stage, so the death of the hero has always been behind the scene, it was announced because of the scene.

The gods and demigods, kings and queens, who often had divine origins became active persons of the ancient Greek tragedies. Heroes are always a person with an extraordinary power of the Spirit, who oppose Rock, fate, challenging the purpose and higher forces. The basis of the conflict is the desire to choose your own way. But in confrontation with the gods, the hero is doomed to defeat and, as a result, the work in the final dies.

Authors

Although creative heritage Euripid is considered to be exemplary, during the lifetime of its production did not use special success. Perhaps this is due to the fact that he lived during the decline and crisis of Athenian democracy and preferred privacy to participate in public life.

The work of Sofokla is characterized by the idealistic image of heroes. His tragedies are a kind of anthem of the grandeur of the human spirit, his nobility and the power of the mind. Tragic introduced a fundamentally new reception in development scenic action - Peripetia. This is a sudden turn, the disappearance of good luck, caused by the reaction of the gods for excessive self-confidence of the hero. "Antigona" and "Odip-Tsar" are the most perfect and famous plays Sofokla.

Eschil first among Greek tragicov received world recognition. The production of his works differed not only by the monumentality of the plan, but also the luxury of incarnation. Eschil himself considered his military and civil accomplishments more significant than achievements in tragic competitions.

"Seven against FIV"

The statement of the Greek tragedy of Eschil "Seven vs. FIV" took place in 467 g BC. e. The plot is based on the confrontation between Polikinik and Etookla - the sons of Edipa, famous character greek mythology. Oncecle, Eteokl expelled his brother from Phi, to alone to rule the city. Years passed, the polik managed to enlist the support of the six famous heroes and with their help he hopes to return the throne. The play ends with the death of both brothers and an elevated-sad funeral song.

In this tragedy, Eschil addresses the theme of the destruction of the community-generic system. The cause of the death of heroes becomes generic curse, i.e. the family in the work acts not as a support and sacred institute, but as an inevitable tool rock.

"Antigone"

Sofokl, Greek playwright and the author of the tragedy "Antigone" was one of of the most famous writers His time. For the basis of his play, he took the plot from the FVAN, mythological cycle and demonstrated a confrontation between human arbitrariness and divine laws.

The tragedy, as well as the previous one, tells about the fate of EDIP offspring. But this time his daughter is antigone in the center of the narration. The action unfolds after the seven hike. The body of the Polikinik, who, after his death, was recognized as a criminal, Creonh, the current ruler of FIV, orders to leave the beasts and birds. But antigone, contrary to this orders, makes funeral ritual Above the body of his brother, how to tell her the debt and the immutable laws of the gods. For which it takes a terrible punishment - it is alive alive in the cave. The tragedy ends with the suicide of the son of Creonte hemon, the groom is antihaw. In the final, the cruel king has to recognize its nonentity and reassure in cruelty. Thus, the Antigone appears the performer of the Will gods, and in the image of Crempta, the human arbitrariness and meaningless cruelty are embodied.

It should be noted that many playwrights not only in Greece appealed to this myth, but also Rome, and later this plot received a new embodiment already in european literature ad.

List of Greek tragedy

Unfortunately, most of Tragedies have not reached our days. Among the fully preserved Pieces of Eschila, you can only be called seven works:

• "SUBRICTS";
• "Persians";
• "Prometheus chained";
• "Seven against FIV";
• the "Orestea" trilogy ("Evmenda", "Hoefors", "Agamemnon").

The literary heritage of Sophokla is also represented by the seven who came to us with the texts:

• "Odip-king";
• "EDIP in Colon";
• "Antigone";
• "Trachinsy";
• "Ayant";
• "Philoktt";
• "Electra".

Among the works created by Euripid, eighteen preserved for descendants. The most famous of them:

• "IPPOLIT";
• "Medea";
• "Andromache";
• "Electra";
• "SUBRICTS";
• "Hercules";
• "Vakhanki";
• "Phoenicians";
• "Elena";
• "Kickles".

It is impossible to overestimate the role that the ancient Greek tragedies played in further development Not only European, but also world literature as a whole.

Ancient Greek tragedy - The oldest of the famous forms of the tragedy.

Comes from ritual acts in honor of Dionysus. Participants of these acts put on masks with goat beards and horns, depicting companions of Dionysus - Satirov. Ritual ideas occurred during the Great and Small Dionysies (festivities in honor of Dionysus).

Songs in honor of Dionysus were called in Greece by Diffirsmam. Diffirb, as Aristotle indicates, is the basis of the Greek tragedy, which retained all the features of the myth about Dionysse at first. The latter gradually dishended by other myths about the gods and heroes - powerful people, rulers - as cultural growth ancient Greek and his public consciousness.

From the Mimic Diffirabov, telling about the suffering of Dionysus, gradually moved to the show of them in action. FRESPIS (Contemporary of Pisistrata), Frini, Heril are considered the first playwagers. They introduced the actor (the second and the third was then introduced by Eschyl and sofokl). The authors performed the main roles (the major actor was Eschil, he acted as an actor and sofokl), they themselves wrote music for tragedies, led the dances.

The three largest tragic of Greece - Eschil, Sofokl and Euripid - consistently reflected in their tragedies the psychoidology of the landowner aristocracy and commercial capital at various stages of their development. The main motive of the tragedy of Eschila is the idea of \u200b\u200bthe omnipotence of rock and the doomes of combating it. Public order was mentioned by certain superhuman forces, established once and for all. Even rebidden titans (the tragedy "chained Prometheus" can not be shaken.

These views expressed the protective trends of the dominant class - aristocracy, the ideology of which was determined by the consciousness of the need for unquestioned subordination to this public order. Sofokla tragedies reflect the era of the victorious war of the Greeks with the Persians who opened great opportunities for commercial capital.

In this regard, the authority of aristocracy in the country fluctuates, and this is respectively affected by the works of Sofokla. In the center of his tragedy there is a conflict between a generic tradition and state authority. Sophokl considered a possible reconciliation social contradictions - Compromise between trading top and aristocracy.

The dramatic effect of Euripid motivates the real properties of the human psyche. The magnificent, but spiritually simplified heroes of Eshil and Sofokla are replaced in the works of the younger tragic if more prosaic, then complicated characters. Sophokl so responded about Euripide: "I portrayed people as they should be; Evripid also depicts them as they are in reality. "

By the time of the Greek-Persian wars, three tragedies (trilogy), developing one plot, and one Satirov drama, in a mocking tone, who had a repeating plot of tragedies, who had a repeating plot of tragedies, a repeating plot of tragedies, with dangling tragedies, with dance-pantomimimi, in a fun, with dance-pantomimami, in a fun. Sofokl has already retreated from this trilogy. True, on dramatic competitions and he spoke with three tragedies, but each of them had his own plot. The tragedy of Sofokla is recognized as the canonical form of the Greek tragedy. He first introduces the Peripetia. He slows down the rapidness of action that characterizes the tragedy of his predecessor of Eschil.

The effect of Sophoclas as it is growing, approaching a catastrophe, followed by a junction. This was facilitated by the introduction of the third actor. The classical structure of the tragedy (sofokla quiet) is such.

Classical structure of tragedy

The tragedy begins with the (declamation) prolobe, followed by the yield of the choir with the song (password), then the episeodia (episodes), which are interrupted by the songs of Choir (Stamimami), the last part is the final stamim (as a rule, solved in the compensation genre) and care actors and choir - exode. Choral songs divided the tragedy thus on the parts that modern drama called acts. The number of parts varied even at the same author.

Choir (at the time of Aeshil 12 people, later 15) during the entire presentation did not leave his place, because he constantly intervened: he promoted the author in finding out the sense of the tragedy, revealed the mental experiences of his heroes, gave an assessment of their actions from the point of view of the dominant morality. The presence of choir, as well as the absence of scenery in the theater deprived the possibility of transferring the effect from one place to another. It is necessary to add more absence from the Greek theater with the opportunity to portray the change of day and night - the state of technology did not allow to use light effects.

From here there are three unity of the Greek tragedy: places, actions and time (the action could only be performed from sunrise to sunset), which should have increased the illusion of reality of action. The unity of time and place largely limited the development of dramatic elements for the evolution of the genus due to epic. About a number of events needed in the drama, the image of which would violate unity, could only be reported to the viewer. On the scene that happened outside the scene was told by the so-called "messengers".

Euripid contributes to the tragedy of intrigue, which he however allows artificially, mostly with special admission - Deus Ex Machina. By this time, more or less theatrical engineering was developed. The role of the choir has gradually comes down only to the musical accompaniment of the presentation.

On the greek tragedy Great influence was provided by Homerovsky Epos. Tragics borrowed a lot of legends from him. Characters Often used expressions borrowed from Iliad. For dialogues and songs Choir playwrights (they are Melurgy, because Poems and music wrote the same person - the author of the tragedy) used a three-way jamb as a form close to live speech (about the differences in dialects in individual parts of the tragedy, see an ancient Greek language ).

In the Hellenistic times of the tragedy follows the traditions of Euripid. The traditions of the ancient Greek tragedy pick up the playwrights of ancient Rome.

The works in the traditions of an ancient Greek tragedy were created in Greece to the Lateryry and Byzantine Time (uncomfortable tragedies of Apollinaria Laodicine, the Byzantine compile tragedy "Harrant Christ").