Introduction
The play by Sophocles Oedipus Rex is an eminent example of the ancient Greek tragedy. The plot of the play describes the tragedy of Oedipus who does not feel his identity for his family and the society in which he lives. The tragedy of the play is in the fact that the king realizes that he killed his father and that he slept with his mother. The theme of unwritten laws which go apart from rational reasoning is highlighted in the play. The research paper promotes the scope of investigation in terms of the main features of the play and its performance. In this respect, the idea of Greek tragedy and classical Greek literature is imposed into the paper with a mere extent of subtlety. The points of play production, its features, and implementation are included in the discussion. The features of the stage, actors, their costumes, chorus direction, and music provide the whole understanding of Sophocles’ main idea of the play. Also, the analysis of outlined aspects gives a background for an observer about how to estimate the conceptuality of the play.
Evaluation
Stage Setting
In the tradition of classical dramaturgy of ancient Greeks, the concept of the pay and its representation was driven in terms of the natural play of actors and without decorations. The thing is that the play itself should represent the reflection in actors of the main feelings of their characters. This standpoint was at a core in ancient Greece. The production of the play according to its original performance should include, first of all, a particular place. In Greece for performing dramaturgy theatres were built in a circle form with an open-air place. The hollow of the theater represents conditions for the acoustic effects so that to hear actors well. The amphitheater with its particular stair-step structure made of wild polished-up stone would surely place a viewer into the atmosphere of ancient theater.
Another step concerns the stage setting. In this respect, the play should be provided in an empty place of circle form without a folding screen. Such a setting makes it possible for the observers to get involved with the whole representation of the play. Every character in Oedipus Rex becomes then the object of great concentration of viewers’ attention. The critical observers of the ancient epoch in drama admit the following idea about scene-setting throughout the pay:
Throughout the play, the scene with at least one door represents the facade of the royal palace of Thebes. Even when the action takes place inside the palace, such as Jocasta’s suicide and Oedipus’s self-blinding, there is no shift of scene (Dunkle para. 1).
Thus, the stage setting and the whole preparatory outlook on the play should consider the traditional constituents of Greek plays. The role of the place for actors and viewers should contemplate the formation of acoustic effects so that the main idea of the play could be identified.
Costumes
Costumes in play form a special attitudinal framework of a viewer as of particular intentions toward a character. In this respect, the costumes of an original play should include stunning patterns in the Greek cultural tradition of dressing. Moreover, the whole representation of characters is possible with changing of their initial costumes in different scenes. For instance, when Oedipus does not recognize the roots of the plague, he stays in a merely stable state of his soul. Here the actor should be in a glorious dressing. On the other hand, when the truth becomes apparent to him and Oedipus follows the example of Tiresias, his dress is better to change into red grave clothes. This is why the features of each stage of the development of pay are colored especially according to the scenes and episodes. Moreover, Aristotle in his Poetics outlines: “Sophocles is supposed to have been the first playwright to use painted scenery, and contemporary vase-paintings can offer faint clues as to the appearance of the costumes and masks” (Cited in Sophocles 1). Thus, the coloring of the costumes presupposes the innovative implementation of stunning dressing of actors along with masks and paintings on actors. Such a method of face paintings is applicable in the scene when Oedipus pokes out his eyes.
Chorus
The choral parties are inalienable features of the play. Using their implementation in the play particular atmosphere can be made. The background of Oedipus’s reasoning is shaped by the chorus. The scene when Jocasta hangs herself is also supported with a trembling signing of choral artists. The role of the chorus is to put a viewer into the picture of what happening on some emotional level. The words of the chorus serve as the direction to Oedipus in his passions. Chorus represents the ideas of rationale. In terms of Greek mythology, it is similar to gods’ revelations. Thus its extraordinary role cannot be simply exaggerated. The difference between Oedipus and chorus is in the fact that chorus can see and Oedipus cannot (Travis 46). Hence, the members of the chorus should be apt in emotional feelings, so that to project the features of excitement and trouble of plague in Thebes. The chorus should be trained in making more attention to the distinctiveness and brilliance of the singing. In this respect, musical support is of great significance.
Music
The music in the play is similarly important as the destination of the chorus. Music is the source of the inner representation of the scenes. In other words, the components of play should be designated using music. First, one should remind that it is a tragedy. Greek tragedy contemplates that the music helps a viewer determine the reception of the play. It serves as the way to perceive the details and the meaning of words by actors in terms of choral parties. The thing is that the music leads the chorus in singing. It outlines possible drops and splashes of characters’ attitudes or actions. The main instruments for the original sounding of the play are: “double flute, drums, tambourine, and sometimes the kithara” (Introduction to Oedipus the King para. 10).
Conclusion
The play by Sophocles Oedipus the King is the representation of genre peculiarities of dramaturgy in ancient Greece. This tragedy inspires with the main ideas and intentions imposed by the author to illustrate the truth of Oedipus. Furthermore, the setting should illuminate the features of original Greek theater with particular framing of the stage. Actors and instrumentation of the play do not need additional decorations. Every definite scene or episode is commented on by a messenger. The role of chorus and music indicate the sensual background of the play. They serve as the supporting tools for Oedipus in his reasoning and evaluation of actions done.
Works cited
Dunkle, Roger. Oedipus the King. Brooklyn College Core Curriculum Series. Web.
Introduction to Oedipus the King. Web.
Sophocles. Antigone, Oedipus the King, Electra. Translated by Kitto, Humphrey Davy Findley. Oxford: Oxford University Press, 1998.
Travis, Roger. Allegory and the tragic chorus in Sophocles’ Oedipus at Colonus. Lanham, MD: Rowman & Littlefield, 1999.