In the 6th century B.C, Greece was experiencing political change. At the time, the total population of Athens and its surrounding villages had grown to an estimated 200,000, making it the largest city-state in Greece. Between 511-508 B.C the predominant oligarchies in the area were failing and an independent “democracy” was established. However, only land-owning males were consisted citizens, meaning approximately 40,000 of the 200,000 people living in Athens were considered citizens. The establishment of this democracy led to a cultural push for Athens to become a philosophical, political, artistic, and cultural center within Greece. It is in this environment that theater first began.
The Athenians inspired by local wine gatherings and athletic competitions such as the Olympics, created the Festival of Dionysia; a four day spring festival in honor of the god Dionysus. The festival took place at the foot of the Acropolis in a theatron (which translates to “viewing-space”). Theatrons consist of a semicirlce of raised seating along the mountainside, with an flat landing in the center known as the orchestra (or playing space). It is here that the action of the play would take place. This allowed for the 10,000-20,000 patrons of the theatre to all get a clear view of the action. Behind the orchestra was the skene; a backdrop or building that typically represented a palace. While skenes were not used in the earlier days of theatre, it quickly became utilized by many playwrights including Sophocles.
At first, their were only two contests during the City of Dionysia; one in dithyramb and one in tragedy. Dithyrambs were elaborate songs sung by a chorus of fifty men with circular choreography. This was a traditional art form that had been seen throughout Greece at many festivals. Tragedy on the other hand, was born out of the City of Dionysia. Three dramatist competed each year, each one submitting three tragoidias. Eventually, a satyr play was added as a pallet cleanser on the last day of the festival. While satyr plays were often lighthearted and mocked political figures and celebrities, tragedy focused on more serious and timeless issues.
While tragoidias were unique to the City of Dionysia, they clearly have roots in other Greek festival traditions such as epic poetry. Epic poetry, particularly Homer’s Iliad and Odyssey, were often read out loud during festivals around ancient Greece. Epic poetry typically included the same set of mythic characters, including Agamemnon, Clytemnestra, Electra, and Orestes. Because of this, it is easy to assume that most Athenians were familiar with the story of Agamemnon’s family before they witnessed Sophocles’ Electra. In addition, Greek tragedy shares the same themes provided in epic poetry including suffering, morality, inevitability, responsibility, guilt, revenge, recognition, persuasion, anger, deceit, endurance, and faith. Because of this, tragedy in ancient Greece should not be viewed as the psychological downfall of an individual, but rather as moral mythology and an safe exploration of extreme suffering.
In addition to providing moral lessons, Greek tragedy had serval other functions. The audience of these plays consisted of up to 20,000 Athenian male citizens and foreign diplomats. Many tragedies focused on gender conflict, political turmoil, and defiance of the Gods. By focusing on these themes, the audiences were allowed to explore taboo subjects and there repercussions in a way that would not have been permitted in everyday society. In addition, these performances demostrated an extreme amount of political power.
Not only did the very existence of the City of Dionysia show Athen’s extreme power and wealth, but the Chorus within each play consisted of of twelve to fifteen men completing military service. The chorus within Greek tragedy usual sang and danced as well as engaged in conversations with the protagonist throughout the play. There function was to display the overall mood and tone of the scene and to move the plot forward. They were dressed in elaborate costumes that were typically funded by the Choregus, a wealthy citizen who would fund specific tragedies.
In addotion the Choregus would also fund the two or three actors for each productions. Like the chorus, these actors also had extravagant costumes, as well as masks, so that they could play different characters throughout the piece. The spectacle of these performances helped showcase Athens strength to the rest of world.