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This creates a challenge of reconstructing the truth & history behind everything ; however, with the below information, we can try to ensure that this dramatic performance style lives on.The material for a satyric drama, like that for a tragedy, was taken from an epic or mythology, and the action, which took place under an open sky, in a lonely wood, the haunt of the satyrs, had generally an element of tragedy; but the characteristic solemnity and stateliness of tragedy was somewhat diminished, without in any way impairing the splendour of the tragic costume and the dignity of the heroes introduced.The dramatic festivities at the City Dionysia in Athens, similarly dedicated to Dionysus, required each playwright to submit three tragedies and a satyr play, which functioned as the last piece performed at the festival.Haigh lists several examples of recorded entries to the City Dionysia: thus, in 472 BC Aeschylus won the first prize with Phineaus, Persae, Glaucus and the satyr play Prometheus.This time period for comedy brought with it the humbling of gods and heroes; which was done through the domesticizing of these characters within the different performances.Middle Comedy took on many of the factors of satyr plays but adapted the performances to be what was desired by the public at that time.The amusing effect of the play did not depend so much on the action itself, as was the case in comedy, but rather on the relation of the chorus to that action.That relation was in keeping with the wanton, saucy, and insolent, and at the same time cowardly, nature of the satyrs.
The only satyr play to survive in its entirety is Euripides' Cyclops, based on Odysseus' encounter with the cyclops, Polyphemus, in Book 9 of the Odyssey.Satyr plays are an independent genre; it shares different factors and considerations with comedy. It met with approval and was further developed by his son Aristeas, by Choerilus, by Aeschylus, and others.In the Athenian Dionysia, each playwright customarily entered four plays into the competition: three tragedies and one satyr play to be performed either at the end of the festival or between the second and third tragedies of a trilogy, as a spirited entertainment, a comic relief to break the oppression of hours of gloomy and fatalistic tragedy. The general theme of heaven, fate, and the gods affecting human affairs in the tragedies was carried through into the festivities of the chorus of satyrs and Sileni, companions of Dionysus.The number of persons in the chorus is not known, although there were probably either twelve or fifteen, as in tragedy.In accordance with the popular notions about the satyrs, their costume consisted of the skin of a goat, deer, or panther, thrown over the naked body, and besides this a hideous mask and bristling hair.