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7. Music and Spectacle
About this Lecture
In this module, we think about the extent to which music and spectacle were an important part of Greek tragedy, focusing in particular on: (i) Aristotle’s view (contained in his Poetics) that music (melos) and spectacle (opsis) were the least important of the six elements of tragedy – the others being plot (muthos), character (ethnos), thought (dianoia) and diction (lexis); (ii) the fact that while some elements of tragedy (e.g. plot and character) survive, others (e.g. music and spectacle) do not, which may impact how we interpret the relative important of each of these elements; (iii) the extent to which (e.g.) the operas of Wagner would be diminished if we only had the texts and none of the music; (iv) the time, effort and money that went into training a tragic chorus; (v) the kind of music that would have accompanied tragedy, including both choral and solo signing; and (vi) the extent to which the music and spectacle of tragedy would have evoked the music and spectacle of real-life rituals.
In this course, Professor Richard Seaford (University of Exeter) explores several aspects of Greek tragedy and comedy. In the first module, we think about the contribution made by vase painting to our understanding of Greek theatre. After that, we think about the significance of the chorus in Greek tragedy and comedy In the third module, we consider what Greek theatre can tell us about contemporary history and society, before turning in the fourth module to think about the extent to which Greek theatre was a ‘democratic’ institution. In the fifth module, we consider the importance of ritual for the understanding of Greek theatre, before moving on in the sixth module to consider the ‘purpose’ of Greek theatre. Is it supposed to teach us something? If so, what? In the seventh module, we think about the importance of music and spectacle to Greek theatre. And in the eighth and final module, we consider whether Greek theatre is better understood as a traditional genre or an innovative one.
Richard Seaford is a professor of the Department of Classics and Ancient History at the University of Exeter in England. He is the author of academic books, especially on ancient Greece, and has penned over seventy academic papers.
His work on Athenian tragedy and religion has led him to investigate the historical conditions for the radical development of Greek culture in the sixth century BC (sometimes called the origin of European culture), and to argue that a crucial factor in this development was money: the advanced Greek polis of this period was the first society in history that we know to have been thoroughly monetised.
Money and the Early Greek Mind. Homer, Tragedy, Philosophy (Cambridge 2004) explores the socio-historical conditions that made this first monetisation possible as well as its profound cultural consequences, notably the invention of 'philosophy' and of drama.
The investigation is taken further in several recent papers, for instance in ‘Money and Tragedy’ in W. V. Harris (ed.), The Monetary Systems of the Greeks and Romans (2008). His most recent book is Cosmology and the Polis: the Social Construction of Space and Time in the Tragedies of Aeschylus (Cambridge 2012). In 2005-2008 he was awarded a Leverhulme Major Research Fellowship by the Leverhulme Trust. For 2013-4 he was awarded an AHRC Fellowship for a comparative historical study of early Indian with early Greek thought.
Cite this Lecture
Seaford, R. (2020, March 13). Greek Theatre - Music and Spectacle [Video]. MASSOLIT. https://www.massolit.io/courses/greek-theatre/music-and-spectacle
Seaford, R. "Greek Theatre – Music and Spectacle." MASSOLIT, uploaded by MASSOLIT, 15 Mar 2020, https://www.massolit.io/courses/greek-theatre/music-and-spectacle