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Greek playwrights didn't just entertain audiences—they invented the dramatic forms that still shape storytelling today. When you study these five figures, you're tracing the evolution of Western theater from its religious origins to sophisticated character-driven drama. The exam will test your understanding of how tragedy and comedy developed as distinct genres, how theatrical innovations built upon each other, and how playwrights used drama to explore timeless questions about fate, justice, individual choice, and social criticism.
These writers also serve as windows into Athenian society itself. Their works reflect democratic values, religious beliefs, gender dynamics, and political tensions of the 5th and 4th centuries BCE. Don't just memorize names and play titles—know what each playwright contributed to dramatic technique and what themes defined their work. That conceptual understanding is what separates a strong exam response from simple recall.
Greek tragedy emerged from religious festivals honoring Dionysus and evolved through a series of technical innovations. Each of the three great tragedians expanded what was possible on stage while exploring humanity's relationship to fate, the gods, and moral law.
Compare: Aeschylus vs. Sophocles—both wrote tragedies exploring fate and justice, but Aeschylus emphasized divine will and cosmic order while Sophocles focused on individual character and personal choice. If an FRQ asks about the development of Greek tragedy, trace the progression from two actors to three.
Compare: Sophocles vs. Euripides—both wrote character-driven tragedy, but Sophocles' heroes face external fate while Euripides' characters are often destroyed by internal psychological forces. Euripides was also far more willing to criticize divine justice directly.
While tragedy dominated Athenian prestige, comedy served equally important cultural functions—providing social criticism, political satire, and eventually, relatable domestic entertainment. The shift from Old Comedy to New Comedy marks a major evolution in dramatic purpose and style.
Compare: Aristophanes vs. Menander—both wrote comedy, but Aristophanes used fantasy and political attack while Menander focused on realistic characters and domestic plots. This Old Comedy to New Comedy transition reflects broader shifts in Athenian society from confident democracy to Hellenistic individualism.
| Concept | Best Examples |
|---|---|
| Tragic innovation (adding actors) | Aeschylus (2nd actor), Sophocles (3rd actor) |
| Fate vs. free will | Sophocles (Oedipus Rex), Aeschylus (Oresteia) |
| Psychological realism | Euripides (Medea, The Bacchae) |
| Strong female characters | Euripides (Medea), Sophocles (Antigone) |
| Political satire | Aristophanes (Lysistrata, The Clouds) |
| Old Comedy techniques | Aristophanes (parody, absurdism, farce) |
| New Comedy development | Menander (Dyskolos) |
| Influence on Roman drama | Menander → Plautus and Terence |
Which two playwrights are credited with expanding the number of actors in tragedy, and what dramatic possibilities did each addition create?
Compare how Sophocles and Euripides approach the role of fate in human suffering—what distinguishes their tragic visions?
If an FRQ asked you to explain how Greek comedy served as social criticism, which playwright would you choose and what specific techniques would you discuss?
What distinguishes Old Comedy from New Comedy, and how do Aristophanes and Menander exemplify each tradition?
Which playwright would best support an argument about Greek drama challenging traditional gender roles? Identify the playwright and provide specific evidence from their work.