Traditionally in Greek theatre Comedic performers wore the everyday garments of the Greeks. This included a body stocking, an under tunic, a draped woolen garment called a chiton, and possibly a form of draped outerwear called a himation.

9. Javelin. The sports of Javelin has its origin from the days when hunters and gatherers roamed the face of Earth. Javelin involved the use of a long wooden pole (lighter than what warriors use) that in length was equal to the height of the athlete and had a pointed end (simply sharpened or metal covered).

The Parthenon frieze runs around the upper edge of the temple wall. Its relatively small size (3 feet 5 inches tall) and placement (inside from the triglyphs and metopes) made it fairly hard to see from the ground. Unlike the metopes, the frieze has a single subject on all four sides.

Masks served several important purposes in Ancient Greek theater: their exaggerated expressions helped define the characters the actors were playing; they allowed actors to play more than one role (or gender); they helped audience members in the distant seats see and, by projecting sound somewhat like a small megaphone …

A buskin is a knee- or calf-length boot made of leather or cloth, enclosed by material, and laced, from above the toes to the top of the boot, and open across the toes. A high-heeled version was worn by Athenian tragic actors (to make them look taller).

1 or less commonly cothurn / ˈkō-​ˌthərn , kō-​ˈthərn / : a high thick-soled laced boot worn by actors in Greek and Roman tragic drama. 2 : the dignified somewhat stilted style of ancient tragedy.

Buskin, a thick-soled boot worn by actors in ancient Greek tragedies. Because of the association, the term has come to mean tragedy. It is contrasted with sock, which refers to the foot covering worn by actors in comedies.

The Ancient Greek term for a mask is prosopon (lit., “face”), and was a significant element in the worship of Dionysus at Athens likely used in ceremonial rites and celebrations.

There are no surviving masks that were actually worn from Ancient Greek Theater. This is due in part to the fact that they were made from perishable material such as “stiffened linen or wood” (MAE). We do have some remaining terracotta examples, which were not worn, but would have been dedicated to temples.

Background. In Greek and Roman theatre, makeup was unnecessary. Actors wore various masks, allowing them to portray another gender, age, or entirely different likeness. Thespis, considered to be the first actor, used white lead and wine to paint his face.

Lysistrata was first banned in 411 B.C., when the Grecian government declared it “government impropriety” (Sova 151). When the Nazi’s took control of Greece in 1942, they banned the play, fearing it would inspire Greek nationalism and strike a revolt.

The main message in Lysistrata is that women proved that they are worthy of having power in a society. When all they were expected to do is have sex, and take of the family most women did not mind doing that. But with the bravery of some individuals like Lysistrata the role of women as being objects in society changed.

“Lysistrata” is a bawdy anti-war comedy by the ancient Greek playwright Aristophanes, first staged in 411 BCE.

After both sides agree, Lysistrata gives the women back to the men and a great celebration ensues. The play ends with a song sung in unison by the Chorus of Old Men and the Chorus of Old Women while everyone dances.

The needy, desperate clown that Myrrhine calls her husband. Kinesias is the first man to be affected by the sex strike and comes to the Akropolis, fully enflamed.

1. Lysistrata may have been based on an actual Athenian woman. The name Lysistrata means “the dissolver of armies” in ancient Greek. Some scholars have noted that Lysistrata may have been loosely modeled on an Athenian woman named Lysimache, a name that means “the dissolver of battle”.

Lysistrata was the first ever female hero of an Ancient Greek comedy. She’s totally critical of corruption in Athenian politics; and she thinks women should be able to get their voices heard in the politics of the city.

Magistrate, Men’s Leader The way we see it, the Antagonist role gets taken up by two separate figures: the Magistrate and the Men’s Leader.

“Lysistrata” was written in the fifth century B.C., but Carlblom believes it is still relevant: “It’s actually uncanny how many similarities there are between the world of the play and our situation. War is war is war is war. Vaughan said the play contains adult content, including sexual innuendo.

Lysistrata is both acute political satire—the women of Greece are sick and tired of the ongoing Peloponnesian War—and filthy comedic mayhem—these women are so sick of the Peloponnesian War that they refuse to have sex with their hubbies. Lysistrata is more than just dirty, dirty hilarious fun.

While modern theatre artists have claimed Lysistrata as a feminist icon, citing her strength and resilience, Aristophanes used the format of Old Comedy to create a play filled with humor at the expense of women, built upon the weak and dependent status of women in ancient Athens.

In its disguise as a sex comedy, Lysistrata made a revolutionary suggestion about the role of both sexes: In a time when women were distractions or even downright evil, Aristophanes suggested that perhaps the sexes should talk to one another.

Shown in 411 BCE at the Lenaea festival in Athens, it was written during the final years of the war between Athens and Sparta. The play is essentially a dream about peace. Many Greeks believed the war was bringing nothing but ruin to Greece, making it susceptible to Persian attack.

The Chorus of Lysistrata is split into two, the Chorus of Men and the Chorus of Women. The two choruses, both old and fragile, are incredibly comic elements of the text. This dynamic between the male and female choruses also reveals the dependency between the domestic and political lives of the Athenian people.

Lysistrata persuades the women of the warring cities to withhold sexual privileges from their husbands and lovers as a means of forcing the men to negotiate peace—a strategy, however, that inflames the battle between the sexes.

Most Old Comedy, including Lysistrata, follows the dramatic structure outlined below: Prologos (PRAH-luh-goss): Usually called the prologue in English texts, the prologos opens the play with dialogue that reveals the setting and themes.

Athens

Calonice, Lysistrata’s devoted friend, is a mature, bawdy, booze-loving woman of Athens. Calonice is sometimes spelled Kalonike. The child is the son of Myrrhine and Cinesias. Ismenia is a young woman from Thebes, a part of Greece, who answers Lysistrata’s call to meeting.

Aristophanes