By Jan F. Brouwer
During this examine a cross-over is made among fields of inquiry. A
theoretical version from anthropology, Communitas, may be utilized to the
phenomenon of classical Greek theater. the aim of this cross-over is
to achieve a greater realizing of the performance of theater in fifth
century Athens. it's essentially the purpose of this new examining of
ancient comedy and tragedy to supply a contribution to a extra right
interpretation of old literary texts. hence this publication will convey
itself beneficial within the box of conventional philology. Secondly the research
wants to teach itself worthwhile within the box of anthropology, by means of giving
examples from Antiquity underlining and clarifying the theories of Van
Gennep and Turner. From an anthropological perspective it truly is
interesting to work out that Turner's findings not just make clear the
functionality of non-theatrical rituals, but additionally the workings of
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Additional resources for Classical Greek Ritual Theater
It is noticeable that one person on the vase makes signals with his hand, while the others respond. This seems to be already a komos leader, an exarchon. Also cyclical and calendar rituals were celebrated by komoi. At fixed times in the year the community parted from the village or city to mark out the new year or the harvest (or any other breaking point in the biological and social processes) with a ritual. Calendar rituals in Greece were strongly linked to the cult of the dead. Archaeological discoveries show us that for centuries on end offerings were made to the graves of people who died during the Mycenaean period (5).
The dithyrambe was originally a hymn addressing Dionysus to appear and with his resurrection to start off the beginning of spring. Within the ritual the invocation of the deity was an important moment, marked by the hymn. For example, Dionysus was at the sound of trumpets called to appear from the bottom of the Lernian Lake (16) and at Megara there was held a festival where the daughter of Demeter was invited by hymnal songs to reappear from the underworld. The invocation was often mimetic by nature: the priest or the exarchon, after singing the hymn, was transformed into the deity revealing himself to the people.
The 14 liminal phase offers an excellent occasion for reflection and evaluation about the world in which the group lives. However, these new developments may be distressing for the many, because one is obliged to exchange the certainty of the old with the uncertainty of the new. Fermentation and criticism, the ambiguity and the presentation of alternative cultural systems, which are so characteristic of liminality, put the world upside down. ). Liminality may be the scene of disease, death, suicide, the breakdown without compensatory replacement of normative, well-defined social ties and association.