Tragedy Ceramic Mask

Tragedy ceramic  mask from the ancient greek theater. Handmade & painted in  green-yellow aging patina. Aristotle considered tragedy and comedy to be the highest form of art. It is the transfer, to the stage, of a human act. On the contrary, his teacher, Plato, argued that it was an imitation of the emotions that come from imitating an act.

DEFINITION

Greek tragedy was a popular and influential form of drama performed in theatres across ancient Greece from the late 6th century BCE. The most famous playwrights of the genre were Aeschylus, Sophocles, and Euripides and many of their works were still performed centuries after their initial premiere. Greek tragedy led to Greek comedy and, together, these genres formed the foundation upon which all modern theatre is based. The early tragedies had only one actor who would perform in costume and wear a tragedy mask.  Allowing him the presumption of impersonating a god. Here we can see perhaps the link to earlier religious ritual.  Where proceedings might have been carried out by a priest. Later, the actor would often speak to the leader of the chorus, a group of up to 15 actors . Who sang and danced but did not speak,wearing an ancient Greek  tragedy ceramic mask like this one.

The Origins of Tragedy

The exact origins of tragedy (tragōida) are debated amongst scholars. Some have linked the rise of the genre, which began in Athens, to the earlier art form, the lyrical performance of epic poetry. Others suggest a strong link with the rituals performed in the worship of Dionysos . Such as the sacrifice of goats – a song ritual called trag-ōdia – and the wearing of masks.

Indeed, Dionysos became known as the god of theatre and perhaps there is another connection .  The drinking rites which resulted in the worshipper losing full control of their emotions and in effect becoming another person, much as actors (hupokritai) hope to do when performing. The music and dance of Dionysiac ritual was most evident in the role of the chorus and the music.  Provided by an aulos player, but rhythmic elements were also preserved in the use of first, trochaic tetrameter and then iambic trimeter in the delivery of the spoken words.