Sides with one character or another May warn a character of possible danger Aristotle Wrote Poetics-the study of Greek Drama Tragedy of tragedy is a struggle and down falls of a hero Aim of tragedy is to bring about a catharsis--is a process that causes the audience to feel pity and fear and then purges them of these emotions so that they leave the theater feeling cleansed and uplifted. Audience feels pity for a hero because he doesn't deserve his misfortune Audience feels fear because they recognize that the hero is a man like themselves and what happened to the hero could happen to them.
How to Write a Summary of an Article? Perhaps most prevalent is the fact that all the women are played by men, most likely talking and Medeas revenge essay in a high pitched falsetto, giving the play a high, screeching tone, which would certainly put the audience on edge.
This also influences the musical nature of the play. As compared to other Greek tragedies where the chorus would have been intentionally all male, Medea would have a very different sound, a much more feminine sound, as would be fitting for one of the few Greek plays with a female protagonist.
The language Eurypides uses helps the audience understand her and her actions, as well as be able to empathize with her. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her.
Eurypides carefully emphasizes the scene where the children are slaughtered by having it be the only time we hear them speak. They are on stage for many scenes, but they never do anything but watch, silent and obedient while their family falls apart around them.
When they finally speak, it is because it is their only Medeas revenge essay of saving themselves; it is too late for their family. They cry out, with young innocent voices, pleading for help in what is perhaps the most tense moment of the play. This tension is further heightened by the fact that the audience cannot see what is happening, they can only hear it.
They are forced to rely on sound alone, and that sound for those few lines becomes the only thing that matters. One almost wants to watch Medea kill her children just to know what is actually happening behind that door instead of being denied perhaps our most important sense: The audience becomes blind to the action of the play, as Medea has embraced her blind rage.
In the last lines of Medea, Euripides uses the verbal interaction between Jason and Medea to show a reversal in the stereotypical gender roles of the time.
Although Medea is a goddess, she represents a strong, unyielding female role that has power over her male counterpart in their relationship. Moments before the final grand spectacle, a distraught, weakened Jason is powerless to the will of Medea.
He raises his voice indicative of his losing all authority and pathetically lashing out for some form control and demands that he be allowed to have his children back.
Yet Madea is unwavering and persistent. This kind of social commentary is interesting because women, who were rarely awarded the liberties of men at the time, were allowed to attend the plays at the Dionysus festival. It is possible that Euripides was sending a subtle message of hope and pride to all of the oppressed female members of his audience.
Although he did not win as many first place awards as Sophocles or Aeschylus at the Dionysus festivals, his work was popular to an audience which was able to recognize their own dialects and accents on stage.
Ancient Greek theaters were specially constructed to perfectly suit the art which they housed although without roofs. The multi-thousand-seat theaters were built into hilsides to allow for minimal construction and also excellent accoustics.
Also, the Skene buidling which stood behind the orchestra may have assisted in the amplification by reflecting voices and sound towards the thousands of audience members. This arrangement meant that the words which were spoken and sounds of music and dancing were clear such that their importance could be heard accurately.
The theaters of Ancient Greece enormous, when, for example, the nearest seat was almost 10 meters away from the performer, large movements and loud voices were critical to conveying the full story.
As such, it is widely accepted that the performers would wear very simple, plain masks which made their facial features more clear and obvious for the audience to see. Some theater historians assert that these masks also had a type of megaphone built in for amplification, although this point is disputed.
In conjunction with their enlarged faces, the performers were often on stilts and wearing heavy robes of fabric to accurately convey their character. These amendments to their body meant that every move they made and every sound they created needed to be worth it.
In addition, the chorus of some twelve men playing women in Medea would constantly dance around the orchestra derived from the Greek term for dancing during their scenes.
The dancing was entertaining but also allowed the group to spread around the wealth so to speak of their odes, so that all might be privy to hearing their sound and seeing their dance. Spectacle The Greatest Spectacle: The bodies of the two children are visible in the chariot.
Interestingly, over the past lines of the play, the stage directions are almost never this specific or elaborate. Showing that Euripides has literally saved the best for last, perhaps to shamelessly present a big ending, the rising chariot is the epitome of spectacle in this play.
By creating such a spectacle, Euripides also highlights the importance of this event: Medea has killed her own childen in order to free them from the terror of the world which has been created for them. Her actions display her insanity, and her relentless pursuit of revenge against Jason.
The unique Greek theaters which seated many thousands called for very simplistic yet very clear design choices.
Instead of elaborate costumes, the performers would wear large bold costumes which allowed even the farthest spectator to be clear on who is who. In the rear of the orchestra section was the Skene, a large building which served as a universal setting for Greek Theater.Medea Motif- Rage & Passion Rage & Passion Throughout Euripede's drama of Medea, Medea exhibits extreme behavior and emotion.
In greek dramas, strong emotion is associated with greatness.
Read Medea and Revenge free essay and over 88, other research documents. Medea and Revenge. The Revenge Medea, a play by the Greek playwright Euripides, explores the differences between Greek and Barbarian through the character /5(1).
Medea (Ancient Greek: Μήδεια, Mēdeia) is an ancient Greek tragedy written by Euripides, based upon the myth of Jason and Medea and first produced in BC. The plot centers on the actions of Medea, a former princess of the "barbarian" kingdom of Colchis, and the wife of Jason; she finds her position in the Greek world threatened as Jason leaves her for a Greek princess of Corinth.
Which asks the question of if all the gods or any of the gods approve of Medeas’ murder? [I would reply to your words at length, if father Zeus did not already know what I did for you and what you did to me.
You weren’t going to shame my marriage bed and have a pleasant life ridiculing me. Medea and the Revenge Essay ; Justice in Medea. Medea examines the fine line between love and hate. Medea's passionate nature contrasts with Jason's calm, rational Greek demeanor, which makes him seem cold in comparison.
Whether in love or in. The audience instantly knows that Medea has suffered horribly, and now has every right and reason to take revenge for the wrongs that have been done to her.
These same words are used often throughout the play, especially “hate” and “betrayed” and give us great insight into the total fury and single mindedness of Medeas later actions.