Tragedy  

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-[[Image:La Fleur du marécage by Redon.jpg|thumb|200px|right|+[[Image:Louis Bouwmeester as Oedipus in a Dutch production of Oedipus the King.jpg|thumb|left|200px|''[[Louis Bouwmeester as Oedipus in a Dutch production of Oedipus the King]]]]
-[[Pierrot]] is a [[stock character]] of [[mime]] and ''[[Commedia dell'Arte]]''. His character is that of the [[sad clown]], pining for love of [[Columbina|Columbine]], who inevitably breaks his heart and leaves him for [[Harlequin]]. He is usually depicted wearing a loose, white tunic. The noticeable feature of Pierrot's behaviour is his [[naïveté]], he is seen as a fool, always the butt of pranks, yet nonetheless trusting. Pierrot is also portrayed as [[moonstruck]], distant and oblivious to reality.+{| class="toccolours" style="float: left; margin-left: 1em; margin-right: 2em; font-size: 85%; background:#c6dbf7; color:black; width:30em; max-width: 40%;" cellspacing="5"
-<br>Illustration: ''[[La Fleur du marécage]]'' ([[1885]]) by [[Odilon Redon]]]]+| style="text-align: left;" |
 +"[[Georg Wilhelm Friedrich Hegel|Hegel]] remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as [[tragedy]], the second time as [[farce]]." --"[[The Eighteenth Brumaire of Louis Napoleon]]" (1852) by Karl Marx
 +|}[[Image:La Fleur du marécage by Redon.jpg|thumb|200px|right|''[[La Fleur du marécage]]'' ([[1885]]) by [[Odilon Redon]]]]
[[Image:Horrors of war by Goya.jpg|thumb|right|200px|''[[The Disasters of War]]'' ([[1810s]]) by [[Francisco de Goya]]]] [[Image:Horrors of war by Goya.jpg|thumb|right|200px|''[[The Disasters of War]]'' ([[1810s]]) by [[Francisco de Goya]]]]
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'''Tragedy''' is a form of [[drama]] based on human [[suffering]]. In his speculative work on the origins of [[Theatre of ancient Greece|Athenean tragedy]], ''[[The Birth of Tragedy]]'' (1872), [[Friedrich Nietzsche|Nietzsche]] writes of its "two-fold mood": '''Tragedy''' is a form of [[drama]] based on human [[suffering]]. In his speculative work on the origins of [[Theatre of ancient Greece|Athenean tragedy]], ''[[The Birth of Tragedy]]'' (1872), [[Friedrich Nietzsche|Nietzsche]] writes of its "two-fold mood":
-:the strange mixture and duality in the affects of the [[Dionysus|Dionysiac]] [[Cult of Dionysus|enthusiasts]], that phenomenon whereby pain awakens pleasure while rejoicing wrings cries of agony from the breast. From highest joy there comes a cry of horror or a yearning lament at some irredeemable loss. In those Greek festivals there erupts what one might call a [[Sentimentality|sentimental]] tendency in nature, as if it had cause to sigh over its [[Sparagmos|dismemberment]] into [[Individuation|individuals]].+:"the strange mixture and duality in the affects of the [[Dionysus|Dionysiac]] [[Cult of Dionysus|enthusiasts]], that phenomenon whereby pain awakens pleasure while rejoicing wrings cries of agony from the breast. From highest joy there comes a cry of horror or a yearning lament at some irredeemable loss. In those Greek festivals there erupts what one might call a [[Sentimentality|sentimental]] tendency in nature, as if it had cause to sigh over its [[Sparagmos|dismemberment]] into [[Individuation|individuals]]."
While most [[culture]]s have developed forms that provoke this [[paradox]]ical response, tragedy refers to a specific [[Poetic tradition|tradition]] of [[drama]] that has played a unique and important role historically in the self-definition of [[Western culture|Western civilization]]. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of [[cultural identity]] and historical continuity—"the [[Classical Athens|Greeks]] and the [[Elizabethan era|Elizabethans]], in one cultural form; [[Hellenistic civilization|Hellenes]] and [[Christian]]s, in a common activity," as [[Raymond Williams|Williams]] puts it. While most [[culture]]s have developed forms that provoke this [[paradox]]ical response, tragedy refers to a specific [[Poetic tradition|tradition]] of [[drama]] that has played a unique and important role historically in the self-definition of [[Western culture|Western civilization]]. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of [[cultural identity]] and historical continuity—"the [[Classical Athens|Greeks]] and the [[Elizabethan era|Elizabethans]], in one cultural form; [[Hellenistic civilization|Hellenes]] and [[Christian]]s, in a common activity," as [[Raymond Williams|Williams]] puts it.

Revision as of 10:24, 13 January 2019

"Hegel remarks somewhere that all great world-historic facts and personages appear, so to speak, twice. He forgot to add: the first time as tragedy, the second time as farce." --"The Eighteenth Brumaire of Louis Napoleon" (1852) by Karl Marx

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Tragedy is a form of drama based on human suffering. In his speculative work on the origins of Athenean tragedy, The Birth of Tragedy (1872), Nietzsche writes of its "two-fold mood":

"the strange mixture and duality in the affects of the Dionysiac enthusiasts, that phenomenon whereby pain awakens pleasure while rejoicing wrings cries of agony from the breast. From highest joy there comes a cry of horror or a yearning lament at some irredeemable loss. In those Greek festivals there erupts what one might call a sentimental tendency in nature, as if it had cause to sigh over its dismemberment into individuals."

While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Williams puts it.

From its obscure origins in the theatres of Athens 2500 years ago, from which there survives only a fraction of the work of Aeschylus, Sophocles and Euripides, through its singular articulations in the works of Shakespeare, Lope de Vega, Racine, or Schiller, to the more recent naturalistic tragedy of Strindberg, Beckett's modernist meditations on death, loss and suffering, or Müller's postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan and Deleuze—have analysed, speculated upon and criticised the tragic form.

In the wake of Aristotle's Poetics (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general, where the tragic divides against epic and lyric, or at the scale of the drama, where tragedy is opposed to comedy. In the modern era, tragedy has also been defined against drama, melodrama, the tragicomic and epic theatre.

Ekkyklêma

Many ancient Greek tragedians employed the ekkyklêma as a theatrical device, which was a platform hidden behind the scene that could be rolled out to display the aftermath of some event which had happened out of sight of the audience. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. A prime example of the use of the ekkyklêma is after the murder of Agamemnon in the first play of Aeschylus' Oresteia, when the king's butchered body is wheeled out in a grand display for all to see. Variations on the ekkyklêma are used in tragedies and other forms to this day, as writers still find it a useful and often powerful device for showing the consequences of extreme human actions. Another such device was a crane, the mechane, which served to hoist a god or goddess on stage when they were supposed to arrive flying. This device gave origin to the phrase "deus ex machina" ("god out of a machine"), that is, the surprise intervention of an unforeseen external factor that changes the outcome of an event.

See also

Reversal of fortune




Unless indicated otherwise, the text in this article is either based on Wikipedia article "Tragedy" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.

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