Greek Theater And Its Impact On The City State Of Athens

Athenian society was very dynamic in many areas while it was strict in regard to the treatment of women. Although Athenian women were protected by the state and did not know a different way of living, they were very stifled and restricted. The only exception was slaves, and heteria, prostitutes, and this was due to the fact that they had no male guardians. Since these women were on there own they had to take care of themselves, and therefore were independent. In a more recent and modern way of viewing the role of a woman, independence and freedom to do as one likes is one of the most important aspects of living. In Athens the wives had none of this freedom and the prostitutes did. Who then really had a “better”

Aristophanes wrote The Acharnians at a time where the world he saw around him was changing. Athens had been at war for six years with no end in sight, the leader who started the war has been killed by a plague, and just three years prior Athens almost voted to kill off one of its allies for trying to leave the Delian League. He was seeing a whole new side of Athens. A side in which the concept of an independent polis has been lost and Athens is at war with its former allies. These are the things that inspire Aristophanes’ Greek comedy to be born. He uses the theater to address the questions he has about what is

Theatre became important to Greek cultures when it became a part of the festival honoring the god Dionysus (The god of wine and fertility).”( Greek Mythology in Theater by Bruce Tucker October 27, 2016) The theater festival was founded to bring unity among the Attican tribes.( Greek Mythology in Theater by Bruce Tucker October 27, 2016) Athens was the main center of these traditions. Everyone came to sing and dance in hope for a good harvest. At one point, a Greek named Thespis began to sing praises to the god, with others responding, which led to the actor and chorus. During the festival everyone would dance and sing in a circle, in the middle of which was the altar to Dionysus. Over time the festivals started giving thanks to other themes, and eventually had nothing to do with Dionysus or any god, but began to turn into classical Greek plays. (First Ancient History, Oxford University Press 2000 pg.166)

Ancient Greek culture has influenced our modern culture in many ways from philosophy to medicine to government. We still use many of their concepts, technology, and even alphabet system. Without ancient Greece, our modern world would not have advanced as far. A significant contribution of the ancient Greek culture to the world today is the Greek theater, more specifically the structure of tragedy. Some contributions are the structure of tragedy in modern literature, rise of opera, and the creation of the theater.

Ultimately, she chooses to use manipulation and temptation to her advantage to sway the minds of men. “If we sat there at home in our make-up, and came into their rooms wearing our lawn shifts and nothing else and plucked down below delta-style, and our husbands got all horny…but we kept away and didn’t come to them—they’d make peace fast enough I know for sure” (Aristophanes 80) Lysistrata urges that the women avoid sex by any means, even if they must fight against physical force by their husbands (Aristophanes). By using this tactic of a sex strike applied all over mainland Greece, Lysistrata remains confident that women can persuade men to keep peace as opposed to war. Therefore, evidence suggests in Aristophanes’ play that women such as Lysistrata derives power and authority over men through sex and temptation. Women can only attempt to persuade them due to the fact that men hold too much power to be outright forced to anything.

‘skene’ there was a large double door for the actors to make their entrance. Actors could also enter through the ‘parados’ if they were acting as characters from foreign lands or who had just arrived (University Press Inc). There were three areas where the actors could act; the platform in front of the stage building, the orchestra and the roof of the stage building. The roof of the stage building was often

Lysistrata comes to the conclusion that the only way to save Athens from destruction in war comes with defiance of her husband. In her role of rebel within the family, Lysistrata decides to "...compel [her] husband to make peace" by withholding sex from him until he stops his disastrous warring behavior (Lysistrata, 7). She concludes, "...there are a thousand ways of tormenting [him]" that will lead to the ultimate safety of Athens (Lysistrata, 9). Unlike Antigone, Lysistrata realistically considers the possible consequences of her actions. She understands that the consequences of rebellion against her husband could be dire. Lysistrata recognizes that her husband might beat her or even rape her in order to get physical satisfaction, but she also realizes that her husband would, "...soon tire of the game there's no satisfaction for a man, unless a woman shares it" (Lysistrata, 9). Lysistrata acknowledges that defying her husband will have consequences, but she chooses to realistically face those possible consequences, and continues knowing that her actions will benefit Athens. Aristophanes' reveals that a woman's greatest allegiance lies with her polis through Lysistrata's role of rebel within her family to save Athens.

In the excerpt Lysistrata written by Aristophanes, a flock of women gather in order to listen to Lysistrata’s speech of how to stop the war and bring peace back to Greece. “So very dainty because that the salvation of all Greece is actually in the hands of women” (76). In order for peace to be restored the women must work together. Lysistrata makes them feel useful and powerful by these statements, but she also forms doubt in their minds. “But what can women

“Lysistrata” is a tale which is centered around an Athenian woman named Lysistrata and her comrades who have taken control of the Acropolis in Athens. Lysistrata explains to the old men how the women have seized the Acropolis to keep men from using the money to make war and to keep dishonest officials from stealing the money. The opening scene of “Lysistrata” enacts the stereotypical and traditional characterization of women in Greece and also distances Lysistrata from this overused expression, housewife character. The audience is met with a woman, Lysistrata, who is furious with the other women from her country because they have not come to discuss war with her. The basic premise of the play is, Lysistrata coming up with a plan to put an

Aristophanes is offering the audience a look into a re-imagining of socio-sexual dynamics, and looking forward in the spirit of peace and cooperation in order to counter pro-war sentiment. The war was devastating for the Athenians and it seems that Aristophanes wished for the end of hostilities between the states, a wish that was impossible at the time of his writing of this play. This play concerns the right and just way to settle disputes, and the author uses the younger women as an example of the type of thinking the men of Athens should avoid, while the older women are imbued with a resolve and organization that is more indicative of the positive qualities the men should exude. The Athenian women knows their families have a much better chance for survival when justice prevails.The play opens with lines that lampoon the idea of female authority, “Smart enough that the salvation of Greece lies in the women's hands!” (Reader 173, l. 29) The titular character insists the domestic sphere's women have the power to influence political and military decisions and outcomes is prominently figured; Lysistrata notes, “Whether the Peloponnesians become extinct...and all the Boiotians annihilated...but if the women gather here...(Boiotian and Peloponnesian) together we'll be able to rescue Greece! (ll. 32-36) The young wives are set opposite

Make Love, Not War As a William Golding once said “I think women are foolish to pretend they are equal to men, they are far superior and always have been”, this is a good quote to relate to how the women have higher power, self-control and a strive for greater good in this particular play. The women in the play Lysistrata use sex as a major tool in controlling the men from going to war and generally for the greater good of the people. The play’s key leitmotif is based around the protagonist Lysistrata gathering the women of Greece, Sparta, Thebes and various other regions of conflict to persuade them to withhold/refuse sex from their husbands or men in general until they come to terms of peace and end the war that has been causing the turbulence between the

In nearly every conflict between man and woman portrayed in Lysistrata, the women emerge victorious. This is especially significant since women can assert themselves and impose their will on man. Traditionally, men are the ones who possess this behavior and force women to be at their ever will. Yet, there are many instances in this play when these roles are opposite occurring, which is further evidence that Aristophanes has switched the characteristics of the genders. One instance from the text is when the men and women choruses are speaking to each other at the Acropolis. “All you fellow citizens, we’ll start to give the city good advice and rightly, since it raised us splendidly… I was born a woman, but don’t hold that against me if I introduce a plan to make our present situation better. For I make contributions to the state—I give birth to men. You miserable old farts, you contribute nothing! (Aristophanes 42-43). Furthermore, this quote portrays the control taken by the women when they take the Acropolis and fend of the chorus of old

“Since his [Aristophanes’] plays were often sharply critical of Athenian policies, his ability to make people laugh was essential to conveying his message. He was a practitioner of what we now call Old Comedy, an irreverent form that ridiculed and insulted prominent people and important institutions” (80).

Many aspects of ancient Greek theaters have long been studied and debated. Much of the information about these theaters is based on speculation due to the fact that so little of them still exist today. This lack of remnants especially applies to the architecture of the early Greek Theaters. However, through archeological finds and years of studying the people, the plays, and the architecture of the time, we are able to make many conclusions about these early structures.

In the ‘Frogs’ and ‘Wasps’ written by the “eminently best” comedian of the fifth century, Aristophanes, we see he utilized humour to exact the important message that Athens is corrupt, and on the verge of chaos. The Athenian audience would expect to be thrust into a world of humour in the City Dionysia, somewhere parallel to their own (e.g. the Athenian jury in the ‘Wasps’, and the failings of the government in ‘Frogs’). It is vital, then, that Aristophanes conveys his political and social views through slapstick, farce, and caricature to interest the audience. This is an important component in both plays as the audience is able to simultaneously accept his diplomatic views whilst being entertained. After all his main point for producing his plays were to produce something with a “little fable, with a moral”.