Древнегреческий театр как школа для города: почему Сократ не был театралом

Abstract

The article explores the phenomenon of ancient Greek theater, portraying it as a unique space where an entire cityscape unfolded before the eyes of thousands of spectators. Despite its mesmerizing effect, there's ongoing debate about its educational impact. In the first part of the article, sources are analyzed in which ancient authors argue for or against the notion that the theater, for which Aeschylus, Sophocles, and Euripides composed, and which was occasionally attended by Socrates, could serve as a kind of school for adults and adolescents. Plato's dialogues, featuring Socrates as the central figure, dissect the differences between philosopher, playwright, and sophist wisdom, suggesting that the theater may not have been primarily aimed at enlightening the masses, but rather at showcasing persuasive rhetoric. Aristotle and Aristophanes stress the importance of playwrights acting as guides for citizens, albeit acknowledging that not all possess the wisdom to effectively mentor citizens in civic engagement and personal growth. In the second part, the article analyzes select tragedies by Aeschylus, Sophocles, and Euripides, seen as valuable sources for instructing citizens. These playwrights' works are depicted as poignant reflections of the challenges faced by inhabitants of various cities, with heroes striving to offer guidance to themselves or others. Based on Aristotle's classification of tragic forms, it suggests that protagonists in these tragedies undergo transformative experiences, whether through reversal, discovery, calamity and spectacle. This also opened up wide opportunities for spectators to project what was happening on stage onto themselves and their city, taking guidance from the playwrights and becoming a special kind of disciples.