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Sophocles influenced the development of drama, most importantly by adding a third actor (attributed to Sophocles by Aristotle; to Aeschylus by Themistius), [147] thereby reducing the importance of the chorus in the presentation of the plot. He also developed his characters to a greater extent than earlier playwrights. [148]
The antecedents of musical theatre in Europe can be traced back to the theatre of ancient Greece, where music and dance were included in stage comedies and tragedies during the 5th century BCE. [3] [4] The dramatists Aeschylus and Sophocles composed their own music to accompany their plays and choreographed the dances of the chorus.
A marble relief of a poet, perhaps Sophocles. Sophocles, the son of Sophillus, was a wealthy member of the rural deme (small community) of Hippeios Colonus in Attica, which was to become a setting for one of his plays; and he was probably born there, [2] [8] a few years before the Battle of Marathon in 490 BC: the exact year is unclear, but 497/6 is most likely.
Another novelty of Euripidean drama is represented by the realism with which the playwright portrays his characters' psychological dynamics. The hero described in his tragedies is no longer the resolute character as he appears in the works of Aeschylus and Sophocles, but often an insecure person, troubled by internal conflict. [citation needed]
Fragment of the Ichneutae papyrus on which Harrison's play is based. Harrison's play is partially based on the events surrounding the discovery of the ancient papyrus found at Oxyrhynchus containing fragments of Ichneutae, a satyr play by the fifth-century Athenian dramatist Sophocles, which was found in fragments at Oxyrhynchus, an Egyptian city where an archaeological site was discovered ...
This translation retains the original iambic verse by Sophocles. Antigona Furiosa, written in the period of 1985-86 by Griselda Gambaro, is an Argentinian drama heavily influenced by Antigone by Sophocles, and comments on an era of government terrorism that later transformed into the Dirty War of Argentina.
Long, A. A. 1968. Language and Thought in Sophocles: A Study of Abstract Nouns and Poetic Technique. University of London Classical Studies 6. London: Athlone. Schein, S. L. 2006. "The Iliad and Odyssey in Sophocles’ Philoctetes: Generic Complexity and Ethical Ambiguity". In Greek Drama III. Essays in Honour of Kevin Lee. Edited by J. F ...
Thus, Thespis's true contribution to drama is unclear at best, but his name has been given a longer life in English as a common term for performer—i.e., a "thespian." The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia (or Great Dionysia).