All entries for Friday 15 October 2004
October 15, 2004
sexiest man- here he is!!! So anyways lets all sit and worship him at the end of a VERY long SST1 lesson full of lots of entries!! I'll put some more pics up later!
*Best Seating:- Near the front- where you can see all of the action and your view is not blocked by other people.
*Worst Seating:- High up where you can not see the action clearly and are not involved at all.
*Physical conditions then:- Cramped, crowded, alking, eating and drinkng. Viewers could heckle and make noise, get up and leave, come and go as they pleased, at all times of the day
*Conventional conditions now:- Quite and sombre atmosphere, in the dark, people do not make noise, each person has their own seat and individual space.
"If someone beside you sobbed or shuddered or trembled, you would feel it directly, and a wave of physical reaction could pass like an electric shock through all your neighbours . . mass emotionalism flourishes in compact crowds of that kind." – W.B Stanford
- There is a different atmosphere created and therefore a different experience. In ancient theatre the audience acted as one body, reacted together and had the same experiences together. In modern theatre this is not so and each individual makes their own interpretation of the play. Personal space did not exist either and so the group was emphasised more and so they could share the theatre experience together.
- It also meant that the audience may not have been able to concentrate in ancient theatre as there would be many distraction and noises around them. In modern theatre the atmosphere is quiet and respectful to the actors on stage and so a completely different experience would occur.
- People who were further back would not be able to see the action properly and therefore the actors would need to exaggerate gestures and movement in order to portray he action. Sight lines mean that the actors would have to be constantly moving in order to address all of the audience also to involve them all.
- The chorus would have to move as one body to give the general idea of the action. The larger staging and seating would mean that the chorus could do more elaborate and larger movements. It meant that smaller gestures were lost, facial expressions could not always be seen, and so the voice and gestures would be very important. Further back in the theatre would require increased volume in speeches and larger movement also.
Centre stage lends itself to being able to be seen by the enire audience and has a focal point to keep the audience's attention. choreography can be staged symmetrically making it aesthetically pleasing and enjoyable to watch; choreograph would be easier based around the centre of the skene also.
However being closer to the audience in the orchestra increases the intimacy and therefore empathy created by the audience for the action on stage. It involves the audience more, whereas standing by the central back of the skene distances the audience; there is less space though for the chorus to move in, and the movements would have to be more restricted as a result.
ii. The spacial differences can affect the meaning of the scene; for example empathy could occur between certain characters and the audience which may not have happened if the actors had been placed further back nearer the skene. It means that the audience will react differently to subsequent scenes as they will be able to relate to certain characters' viewpoints better and may have a biased view because of this.
The phlyax vases, as they are known, show a raised platform, varying in height, resting on wooden posts, with a decorated rear wall made from panels of wood or canvas. This backdrop often had a doorway opening onto the stage through which the actors would have entered, and occasionally had window openings that may have been employed for comic purposes. The space behind the backdrop was probably used as a tiring area, and also to store stage properties. A short flight of steps, varying in number from 6–8, stood at the front of the platform, suggesting a stage height of approximately 1 metre. Draperies were often hung from the edge of the stage to the ground to mask the wooden posts on which the platform was stood. The vases indicate that both the stage and the ground around it was used for performance, as many depict actors climbing the stairs leading to the platform or stood apart from the stage looking on.
The phlyax stage sometimes had a small stage cover protruding from the rear wall over the stage, held aloft by wooden supports attached to the posts of the main structure. These supports were usually decorated, often to resemble one of the classical orders. Other stage properties depicted on the vases, include small porches and alters, baskets, chests, tables, weapons and chairs. It is undetermined whether the stages were permanent or whether they were temporary and the property of travelling troupes. The stages appear very simple in structure implying that they were capable of being dismantled and transported. However, some scholars have argued that the stages were depicted in a simplified manner because of the limited space available to the vase painters.
The phlyax plays were mimes, and were mainly performed in the Greek colonies of southern Italy and Sicily. The subject matter of the plays was either the parodying of myths, especially the way in which myths were presented in Athenian tragedy, or depictions of comic scenes from everyday life. The characters depicted on the vases are usually grotesque, wearing padded costumes and tights, masks, cloaks, tunics, and armour, and the males are invariably outfitted with a prominent phallus.
This is the Theatre of Dionysos on the south slope of the Acropolis in Athens, Greece. The site has changed significantly over the two-and-a-half thousand years, since the days in which it first began to be used as a regular site of theatrical performance and the model that you can see here is a reconstruction of the theatre that was developed during the Lycurgean period (338 to 326 BC).
The Lycurgean theatre was the first at this site to make use of stone seating; it was also the first to develop significant stage buildings also constructed in stone.
As one looks down from above in this birdís eye view, one can make out the skene, paraskenion and other stage buildings at the bottom of the theatre complex (they are the red-roofed buildings roughly in the middle of this screen). One can also make out the three separate segments of seating that existed in the Lycurgean theatre (the lower, middle and upper cavea) and the walkways (or diazoma) that separated them.
To the right of this viewpoint, the Odeon of Pericles can also be made out (it is the grey building with an octagonal opaion at the centre of its roof). This covered theatre structure was constructed in the 5th century BC and was also used for certain performances, as well as for rehearsals and other aspects of theatrical preparation.
Theatre of Dionysus
The Lycurgan period staging means that only one set can be used at all times as it is a stone structure whereas the Phylakes skene can be modified, rebuilt and painted acording to the needs of each play. However the stone skene means that the actors can interact with it, move around it and use it to create a layered stage.
- It would be difficult to change scenes with either of these skenes. The Phylakes stage would need to be painted, moved or turned around; the scenery of the stone stage could not be changed however and so removable things such as material would need to be used to indicate a change of scene (or props).
I think that the staging would not have been that appropriate as there were no skenes and therefore no 'off stage'. It would be difficult for the audience to suspend their disbelief for the duration of the play when characters would be onstage but not involved in the action. Similarly it would be difficult for the actors to remain in role at all tiemes when on stage and to be on stage but not involved at all.
ii. I think that the characters at the beginning of the play would be near the altar and temple as the Eumenidies begins in the tample of Apollo and therefore it would make sense to place the actors near a religious temple.
iii. The chorus could have performed higher up nearer the audience perhaps to represent that they are higher more godly beings but segregated from the religious world of the real Gods (auch as Apollo).
i. I think that it is too difficult to tell whether or not an image was painted from a piece of theatre or from myths alone. However, practically it would be impossible for an artist to capture an image on a vase whilst trying to watch a performance; they would probably be too far away and not have enough time! In addition when looking at the two images of the furies:-
you can see that they are represented in both a naturalistic and realistic style as well as the second, more representational style.
ii. Even though ancient Greek vases may not relect actual events in tie they are a good means of presenting the stories for future generations, giving inspiration for costume and character designs.
Well upon looking at several peoples works (all of which were pretty damn good in my opinion) I've noticed some key points that I thoght made the cut:-
- An evaluation of teh negotiation of the site not only the content
*Pictures give good examples of the web pages (eg Owen's)
*the good and bad points of each site, a geeral rounded view
*summarising which out of all the sites was best/most useful( eg Laura's)
*not having the text in one big chunk but seperated to that it is easy to digest( eg Jack's)
*include a link to the actual page – for people like me who couldn't get into the theatre studies web page!!
thats about it for now!