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THE POWER of SPACE: the ACROPOLIS, the THEATRE of DIONYSOS, and TRAGEDY in the 5TH CENTURY BCE Copyright 2011 Katrina Bondari Su

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THE POWER of SPACE: the ACROPOLIS, the THEATRE of DIONYSOS, and TRAGEDY in the 5TH CENTURY BCE Copyright 2011 Katrina Bondari Su THE POWER OF SPACE: THE ACROPOLIS, THE THEATRE OF DIONYSOS, AND TRAGEDY IN THE 5TH CENTURY BCE Copyright 2011 Katrina Bondari Submitted to the graduate degree program in Theatre and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ____________________________________ Dennis Christilles, Chair ____________________________________ Michael Shaw, Co-chair Committee Members ____________________________________ John Gronbeck-Tedesco ____________________________________ Henry Bial ____________________________________ Jack Wright ____________________________________ John Younger Date Defended ________________________ ii The Dissertation Committee for Katrina Bondari certifies that this is the approved version of the following dissertation: “The Power of Space: The Acropolis, the Theatre of Dionysos, and Tragedy in the 5th century BCE” Committee: ____________________________________ Dennis Christilles, Chair ____________________________________ Michael Shaw, Co-chair ____________________________________ John Gronbeck-Tedesco ____________________________________ Henry Bial ____________________________________ Jack Wright ____________________________________ John Younger Date Approved ________________________ iii Abstract This dissertation explores the effects of the shared space of the Theatre of Dionysos and the Acropolis during tragic performances in Athens during the 5th century BCE. The theatre's location on the south slope of the Acropolis allowed the Acropolis' depiction of Athenian power, I argue, to speak to audience members as they watched dramatic performances in the theatre space. The theatre's location provides a way of understanding how the mythic plots of the tragedies could speak to the contemporary concerns of the Athenian polis. I am concerned with what the spatial relationship between the Theatre of Dionysos and the Acropolis becomes during the performances, how it contributes semiotic meaning to tragedies that call upon it, and how it influences the thematic effect of these performances. I examine three tragedies historically and ideologically within the context of their first performances: Aeschylus' Persians, Aeschylus' Eumenides, and Euripides' Ion. These case studies reveal the semiotic influence of the Acropolis on tragic performances that refer to its presence within the Theatre of Dionysos. This sampling of plays that span the course of the 5th century disclose the shifting Athenian perception of their polis. They effectively demonstrate the changes in the way the Acropolis presents Athenian power, and the various roles it enact in the performances. Writing about the role of the Acropolis in tragic performances that took place in the Theatre of Dionysos is a project aimed at contributing to the conversation on iv the role of spatial semiotics in performance, and in particular, ancient performance. This interdisciplinary project contributes to a variety of fields including theatre and performance studies, classics and archaeology, and anthropology. v Acknowledgments Naturally the content and errors found in this dissertation are my own, but there are many who have supported this project, and I would like to extend my gratitude to them. The Joseph R. Roach Dissertation Research Award given by the University of Kansas Department of Theatre allowed me to pursue research in the early stages of this project. The KU Office of Research and Graduate Studies provided summer research funding to continue my work. With the help of these monies, I was able to research in Athens for two summers as an associate visiting member of the American School of Classical Studies at Athens. I would like to thank the library staff at the ASCSA for their help, and Bob Bridges for all of his kindness and advice. In addition to the financial support I have received, my committee has given me the utmost support and encouragement throughout this process. I am grateful to Dennis Christilles for serving as my dissertation adviser. Thank you for being both a mentor and a friend, and for helping me to persevere and learn to take things one step at a time. A great thanks to the co-chair Michael Shaw for his unfailing availability throughout the development of this work. Thank you for taking me into the KU Department of Classics, and treating me as one of your own. I am eternally grateful to John Younger for providing images that otherwise would have been unavailable to me, and for writing my letter of introduction to the American School of Classical Studies at Athens. Ευχαριστώ πολύ! I would like to thank John Gronbeck-Tedesco vi and Henry Bial for helping me to find the theories that guide this work, and Jack Wright for encouraging me to keep writing. I also appreciate the encouragement I have received from my colleagues and friends, particularly Madison Spencer, Jocelyn Buckner, James Diemer, Joy Richmond, and Jeff List, for sharing laughs, frustrations, advice, and resources. I especially thank Paul Streufert and Kazem Mahdavi for taking the time to read this dissertation, and offer advice as it reached its final stages. Special thanks to my rabbit, Kouneli, for reminding me to play and enjoy the little things in life. I owe my gratitude to my family for their continuous support of my education. You helped make this possible. Thank you. Finally, I wish to thank my husband, Brian Bondari, for his undying support throughout every stage of this dissertation. I could not have succeeded if it were not for him. I would not continue to succeed without him. Thank you more than I can ever say. vii Table of Contents Chapter One Page Introduction: The Spatial Relationship of the Acropolis and the Theatre of Dionysos 1 Chapter Two Literature Review: The Acropolis' Semiotics at Play in the Theatre of Dionysos during the 16 City Dionysia Chapter Three 37 Creating Identity, Constructing Power: The Role of the Acropolis in Aeschylus' Persians Chapter Four 66 Imperial Justice, Divine Right: Athena, Athens, and the Acropolis in Aeschylus' Eumenides Chapter Five 92 Identity in Crisis: Mortal Chaos and the Acropolis in Euripides’ Ion Chapter Six 120 Conclusion Appendix A 127 A Note on Comedy: The Function of the Acropolis in Aristophanes' Lysistrata Appendix B 133 Images Appendix C 155 An Index of Acropolis References in the Dramas of the 5th Century BCE Bibliography 162 1 I. Introduction: The Spatial Relationship of the Acropolis and the Theatre of Dionysos Today in Athens, Greece, the Acropolis still sits above the city, its ruins artistically lit at night to fully display its mystery and magnificence (Plate 1). Anyone walking through the Acropolis complex during the day can feel the strength and power of the ancient society that constructed such glorious monuments. Looking north from the precipice of the Acropolis one has a view of the ancient Roman forum and Greek agora, as well as the touristy restaurants, cafes, and souvenir shops that surround the area. Beyond them is the smoggy, noisy city of modern Athens that extends beyond the horizon. The view to the south presents similar contemporary sights, but rather than a view of the ancient markets, one looks over the Dionysos precinct. This area contained many structures during antiquity, but the most recognizable to the untrained eye today is the Theatre of Dionysos that rests on the south slope of the Acropolis (Plate 2). This structure and its location on the slope of the Acropolis piqued my interest when I visited Athens for the first time in 2006. It was the first ancient Greek theatre of several in which I would set foot that summer, and its location at the center of ancient Athens intrigued me. Here this open-air theatre sat on the slope of the polis' nucleus while functioning as part of a religious precinct. Having just read Marvin Carlson's Places of Performance: The Semiotics of Theatre Architecture, I found the theatre's location in the overlap between the Acropolis and the Dionysos precinct 2 significant to any performance taking place there in antiquity. This sent me on a search to find plays that make reference to this unique location, thus drawing the structures of the Acropolis and their meanings into the performance. Briefly in 2008 and more extensively during the summer of 2010, I was able to return to Athens as an associate visiting member of the American School of Classical Studies at Athens to further examine the physical relationship of the Theatre of Dionysos to the Acropolis. This time I had in-hand the texts of plays that refer to its relationship to the Acropolis. How could this relationship between the Acropolis and the Theatre of Dionysos influence performances in this space? My time spent in the theatre space, the surrounding Acropolis complex, and at the new Acropolis Museum greatly affects this dissertation. This on-site experience guides my analyses of the plays along with relevant critical scholarship in theatre, classical literature, and archaeology. * * * * * An understanding of the Acropolis and the Theatre of Dionysos as they exist today does not provide a steadfast basis for examining the semiotic meanings of these structures in relation to performances during antiquity. The Acropolis today looks little as it did in the 5th century BCE, and the ruins of the Theatre of Dionysos are mostly from its reconstruction during the Roman empire. While the spatial relationship between Acropolis and theatre remains, one must peel back the layers of time to reveal the state of the Acropolis at the
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