The Greek theater and its dramaFlickinger, Roy C. (Roy Caston)
History
The Greek theater and its drama
Flickinger, Roy C. (Roy Caston)
Drama -- Technique; Greek drama -- History and criticism; Theater -- Greece -- History -- To 500
But were the resources of the tragic writers as great as those of the
comedians? We have seen how the first, second, and third actors were
added to Greek tragedy. Is there reason to believe that the tragedians of
Athens ever followed the comedians in employing a larger number? Until
recently a negative reply to this has been accepted without serious
question, but in 1908 Professor Rees challenged the tradition. Three
years later the old view was defended by Dr. Kaffenberger. Although
neither has been able fully to establish his contentions, yet the
discussion has helped to clear the air, defined the issues more sharply,
and really settled certain important points. For one thing, since 1844 it
has generally been taken for granted that three actors were the maximum
for Old Comedy as well as for tragedy. But the passages just cited from
Aristophanes would seem to be decisive against this view, and all the
objections to the presentation of Greek tragedy by only three actors
apply with still greater force to Old Comedy. Even Dr. Kaffenberger
(_op. cit._, pp. 9 f.) accepts this conclusion, and it is an invaluable
result of Professor Rees’s investigations that he has banished this phase
of the subject from the field of controversy. Moreover, they are both
agreed[274] that a fourth actor seems sometimes to be required also for
New Comedy. It must be added, however, that Dr. Graf (_op. cit._, pp. 29
ff.) dissents. But in any case the question has been restricted, so far
as the fifth century is concerned, to the practice in tragedy.
It can be said at once that if we are willing to grant that the Greeks
made use of certain desperate expedients it is physically possible to
stage all the extant tragedies with three actors. But these expedients
are so offensive to modern feeling as to be tolerable only as a last
resort. It will be best to begin at a point where comparative agreement
is possible, viz., with Aeschylus’ earlier plays, which nearly everyone
would admit were intended for two actors alone. Do they reveal any
indication of this limitation?
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