Detailed Comparison: Classic Greek Tragedy vs. Elizabethan Tragedy

This essay provides a comparative analysis of Classic Greek and Elizabethan tragedies, exploring their distinct characteristics and shared elements. It begins by contrasting the theatrical practices, including costumes, staging, and performance styles, highlighting how Greek actors utilized masks and symbolic attire while Elizabethan actors favored more casual clothing. The essay then delves into the differing roles of the audience and the playwrights, examining the religious and celebratory context of Greek tragedies versus the profit-driven entertainment of Elizabethan plays. The discussion extends to the subject matter and themes, with Greek tragedies often drawing on historical and mythological narratives, and Elizabethan plays covering a wider range of topics. Similarities are also discussed, such as both forms being intended for entertainment and involving government representatives. The essay concludes by summarizing the key differences, such as audience knowledge of the plot in Greek tragedies versus the suspense of Elizabethan plays. This work provides a comprehensive overview, referencing the works of scholars such as Sinn and Duffin to support its claims, making it a valuable resource for students studying theatre history.

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Comparison Between Classic Greek Tragedy and Elizabethan Tragedy
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Comparison Between Classic Greek Tragedy and Elizabethan Tragedy
Introduction
Classical Greek tragedy was a significant and popular type of theatre performed in
theatres around ancient Greece starting about the late sixth century. The works of the genre's
most well-known authors, such as Euripides, Sophocles, and Aeschylus, were performed years
after their first release. Greek tragedy gave rise to Greek comedy, and their interaction formed
the foundation for modern theatre. On the other hand, Elizabethan tragedies are plays and
narratives written during the Elizabethan period. They focused on mortality and heroic themes,
frequently highlighting prominent figures destroyed by their ambition and passion. The essay
compares and contrasts the Classic Greek tragedy and Elizabethan tragedy taking into account
theatres, audiences, and playwrights.
Differences
The types of costumes used serve to highlight the primary distinction between the two
tragedies. Even though they performed historical plays, Elizabethan actors tended to favour
casual attire. These characters could engage in conflict, skirmish, or even "die" on stage (Duffin,
2021, 40). Greek actors, in contrast, wore decorative masks and costumes, mixing songs into the
dialogue and occasionally performing dances (Sinn, 2015, p. 30). Onstage, there were no battles,
altercations, or killings; instead, some characters would update the audience on what was
happening.
The performance's purpose is the other notable difference. Several Greek tragedies were
played as a part of religious celebrations like Christmas, and the audience was aware of the
upcoming performance's content, theme, and narrative (Sinn, 2015, p. 30). It proves that nothing
was kept a secret from the viewers. The audience did not have to pay an entrance fee. In the

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Elizabethan tragedy, the theatre provided profitable entertainment because admission fees were
charged, exactly like at the movies today. In addition, the audience was unfamiliar with the
content (Duffin, 2021, 36). It implies that fresh content was presented each time they attended a
performance, and suspense was readily evident.
The Greeks put a lot of confidence in the production's central subject of unity. The stories
of historical significance have repeatedly been represented in Greek plays. It suggests that the
Greek theatre was only decorated with heroes, gods, and kings. Greek plays were also written
and performed for contests and religious holidays (Sinn, 2015, p. 29). There were not many
limitations at the Elizabeth Theater. The topics of the plays at this period ranged from the risqué
to the inconsequential, Anti-Semitism, revenge, moody and fanciful, depending on the author's
mindset (Duffin, 2021, 40). As long as one could afford the entrance price, the audience was
generally open to everybody.
Most plays from Elizabethan tragedy are critical of formal government rankings;
therefore, the Elizabethan performers were seen as anti-founding since they were often referred
to as "masterless persons." Substantial governmental restrictions were to preserve respect
between actors and authorities (Duffin, 2021, 42). On the other hand, Greek tragedy had
elements of officialdom, and its actors occasionally held positions of authority in the government
(Sinn, 2015, p. 28). The majority of Greek dramas took a broadly traditional political
perspective.
Similarities
The Elizabethan and Greek tragedies share the first thing in common: they were both
intended as entertainment. The audience enjoyed the variety of information and was still

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entertained when they left. Secondly, Government representatives were present in both events
and made part of the audience, although they sat on different platforms away from the public.
Thirdly, Famous people and artists participated in both of their works, and together with the
government representatives, the two maintained some formality. Various restrictions were placed
on preserving respect between the government and the citizens. Lastly, both tragedies were
accompanied by particular themes.
In conclusion, Classic Greek and Elizabethan tragedies have many contrasts and
commonalities. Some of the similarities include; both involved prominent persons, artists, and
political leaders, as well as tragedies intended for the entertainment of their audiences. The
following are a few variations: The audience knew what would be portrayed in Greek tragedy,
but the public did not know anything about the content of Elizabethan tragedy. Greek players
wore ornamental clothing and masks, while Elizabethan actors tended to choose casual attire.

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References
Sinn, H. W. (2015). The Greek Tragedy. In CESifo Forum (Vol. 16, No. Special Issue, pp. 5-35).
München: ifo Institut-Leibniz-Institut für Wirtschaftsforschung an der Universität
München.
Duffin, R. W. (2021). Hidden Music in Early Elizabethan Tragedy. Early Theatre: A Journal
associated with the Records of Early English Drama, 24(1), 11-61.