As we get deeper into table work, it has come to my attention that Greek culture is extremely foreign to most of us. Your voices have not gone unheard! I took your questions from last night's rehearsal, did some research, and put together a report of Athenian religion, politics, and pop culture. Read up, and I'll see you tonight!
Historical Context
In fifth century Athens, Aristophanes wrote Lysistrata, a play set in fifth century Athens. This meant that his audience would know exactly what type of world the characters lived in, and yet anyone experiencing the play outside of this time may come across some confusing references. Religion, politics, and popular culture all play a part in understanding the context of Aristophanes’ Lysistsrata.
In the play, gods and goddesses are referenced constantly. Greek religion began as a blend of two influences; the Celtics and the early Greeks (Tucker 204). Thanks to these multiple religious influences, there were numerous deities and various meanings for each. There was never a ‘right answer.’ There were two types of gods; those on Mount Olympus that did ordinary things, and those on Earth that did supernatural things (Tucker 205). Nothing was set in stone, and religion was always experienced through emotion, never reason (Tucker 206). This caused an ease that rarely required questioning. The Greeks did what they needed to do to please the gods, their ancestors, and powers of nature to ensure their life in the underworld would be a pleasant one. Religious acts were performed because no one wanted to descend to tartarus, a ‘place of torment’ (Tucker 207). There was a hierarchy of Gods, so that beings like Zeus, Athena, Dionysus, and Poseidon were always put first. They demanded the most, and therefore received sacrifices, ceremonies, and theatre festivals. At these theatre festivals, the audience was aware that, “…[gods] were powerful, but not omnipotent, and not necessarily good, and so it was quite reasonable, in appropriate cases, to make fun of them, as of anyone else, in a comedy” (MacDowell 18).
Athens during the fifth century BCE was the center for reason and radical democracy. The government was run by the people. Every citizen was allowed to speak and vote at assemblies. However, their definition of a ‘citizen’ somewhat changes the idea of a ‘perfect democracy.’ In order to be one of these democratic members of Athens, one must be a man. Not just any man, but one born into a good family and with a fine amount of wealth. A citizen could not be a woman, a foreigner, a metic (someone who lives in Athens but was born elsewhere), a freeman, or a slave (Just 15). In actuality, citizens were those born into an elitist society. The privilege of action in the assembly was granted at birth. Athenians liked to say their democracy was “for the people,” but what they meant was, “for the important people.” It only seemed like the perfect democracy because all ‘citizens’ were accepted.
By 411 BCE, when Lysistrata takes place, the Peloponnesian War was at the peak of its destruction. The Peace of Nikias was made in 421 BCE, but it failed miserably (MacDowell 229). In 413 BCE, Athenian fleets attempted an attack on Sicily, but were defeated and left with nothing (MacDowell 229). By 411 BCE, the Spartans were receiving support from the Persians, and Athens faced poverty and potential revolt. Athens held control over many small cities, like Dekeleiaia, Miletos and Khios (MacDowell 231). With rebellions breaking out in these areas, Athenian soldiers were called away and the city was left vulnerable.
While the assembly and all the business inside the acropolis was important, it must be noted that this was the age of a connection with the Earth. Because there was not anything for Athenians to manufacture or imitate, all life came from nature. This means that the men performing in Lysistrata would have been healthy and alive. In our world of fast food and on demand television, actors have a tendency to become lazy. When the men and women take off their tunics in scene ten, they must appear fit and powerful. In Aristophanes’ time, all life was based on soil and climate (Tucker 15). The winters were short and summers were cool. The perfect sixty-four degree weather caused Athenians to dress in light tunics, with no shoes, and nothing on the head (Tucker 19). Actors should feel comfortable and move freely. Events took place in open air venues such as theatres and parliament. Because Athens was heavily wooded with thin soil, crops included barley, wheat, figs, olives, wine, and honey (Tucker 17). Animals such as pigs, sheep, and goats were raised, but meat-eating was rare. It is said that “…the classical Athenian was a man of moderate diet, largely vegetarian, and that he combined high thinking with plain living…” (Tucker 17). Boys, from a young age, were taught reading, writing, music, and physical training (Tucker 182). Young girls were not given an education, and the boys that were not learning were expected to take care of their elderly kin. As a whole, “To train the intellect, the passions, and the body, was the aim of the Athenian culture” (Tucker 183). These men were totally and completely healthy. Twenty-first century actors must strive to get back to a Grecian level of physique and intelligence.
Life in Athens during the fifth century BCE is well reflected in Aristophanes’ Lysistrata. The pieces that do not fit are what create conflict. This conflict lends itself to a plot full of high stakes. Samuel Taylor Coleridge’s “willing suspension of disbelief” had not yet been coined, but Aristophanes believed in his Athenians and their ability to accept what the theatre gave them.
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