Aristophanes' Lysistrata: Character Analysis, Performance Styles

This essay offers a comprehensive analysis of the character Lysistrata from Aristophanes' play, examining her significance within the context of classical Athenian comedy. The essay delves into both the external and internal portrayal of Lysistrata, exploring the vocal and physical performance styles necessary for the role. It discusses her super-objective to bring peace, her leadership qualities, and the methods she employs to influence both men and women. The essay further provides an autobiographical perspective, detailing her background, motivations, and experiences during the Peloponnesian War. It also analyzes the play's historical and political context, the challenges of staging the play for modern audiences, and the actor's responsibility to convey Lysistrata's complex personality. Overall, the essay emphasizes the character's strength, intelligence, and the importance of her role in the play's themes of war, gender, and power dynamics.

Running Head: ENGLISH 1
Lysistrata character
Author's Name
Institutional Affiliation

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Introduction
Aristophanes was a famous writer of comedy in classical Athens and his play
“Lysistrata” was performed for the first time in 411 BC (Johnston, n.d.). It was two years after
when Athens suffered an enormous defeat after being in war with Sparta for two years. Lysistrata
character and role are seen as the most important female role composed by Aristophanes.
Lysistrata is a complex figure who carries a moral and political authority and is able to exert
influence over both men and women. The essay discusses the external and internal portrayal of
Lysistrata on stage, the vocal and physical performance styles required for the role. Each and
every character holds a significance in the play and is involved in the perusing plot. The actor
playing a certain character should understand the personality, background, and beliefs of the
character. As Lysistrata is a complex but sophisticated character, careful time and consideration
must be given to her role, body posture, what she wears how she looks her speech and how she is
supposed to move on the stage.
The Super Objective and Throughline
Lysistrata, an Athenian woman, is the main character in the play. Her super-objective is
to bring peace to her lands and end the mindless war. She is tired of the war and the treatment of
women. She feels that the war is killing their men and destroying their country. She is strong and
ambitious and knows how to control and influence other women. It is her strong will that gives
her the courage to gather the women of Sparta and Athens together and fight the social ills. As
she is an intelligent and bold woman, she enjoys respect among both men and women in Athens.
As she is no soldier, she uses the smarter and stronger side of women to end the war. She is very
frustrated with the conditions around her and tries to unite the women and persuade them to not

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to let their men touch them. The women are not convinced in the beginning, but with the
persuasions of Lysistrata, they all agree finally. Still, it is no easy for Lysistrata to keep them
motivated as they miss their men and again, she begins her persuasions and admonitions.
Gradually, negotiations begin between men and women and what must be done to bring peace.
Those repeated efforts by Lysistrata show how determined she is to bring an end to the war and
senseless violence around here. The play shows the women enjoy a certain degree of freedom
and interact with one another freely. For example, Lysistrata comes out and converses with her
neighbor Calonice without the supervision of men. Women assume political dimension by
making use of their domestic skills (Syropoulos, 2012).
Scholars see Lysistrata be an idealist and as she is unmarried, she is less vulnerable to
erotic desires like the married women. She is the only woman who does not have a husband or a
lover or any sexual desires like the others. Men who saw her as a rebel later praise her as a true
peace-bringer and an excellent woman. Lysistrata organizes a sex strike in Athens and Sparta to
bring a peaceful end to the expensive Peloponnesian War. She motivates the Athenian women to
manipulate their men masterfully and bring an end to the senseless war. Lysistrata can be seen as
more a masculine than feminine as she ends up controlling women and manipulates them to use
their power of seduction and sexuality. She ends up using the women just like men would,
putting a great emphasis on the women’s power of seduction and sexuality. It would not have
been easy for Lysistrata to collect and unite women and agree to what she has to say. However,
they agree because everyone wants an end to the war. In the Reconciliation scene in Lysistrata,
men are shown to at women’s bodies imprisoning them as objects with the ubiquitous ‘male
gaze.’ In the final scene, Spartan and Athenian ambassadors draw out a peace treaty on the body

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of the naked goddess (Lambert, 2018).
Autobiography
My name is Lysistrata, and I was born in Athens around the year 390 BCE. I remember
having a normal childhood and was surrounded by loving parents and caring siblings. I was
given freedom of choice within my family and was never forced by my parents to do any of the
household chores. Still, I was aware of my duties and responsibilities and loved to help my
mother. My father loved me more as I was more outspoken and fearless, even when I was a
child.
As I grew up. I observed the social life and communities around me. The women were
tied to homes, and household chores and the men went out to earn a livelihood. I often wondered
why women were not allowed to earn or work. As I was found to be bold and outspoken, I
became the priestess at a very young age and enjoyed the privilege of performing rituals for a
goddess. I think why I was made the priestess was because I was a representative of traditional
religion and somewhat had a higher social ranking than other women. I was happy to fulfill my
roles and responsibilities as I had little interest in men or sexual pleasures. The Commissioner
and the delegates gave me more respect as they never saw me flirting with men.
By the time I was in my early youth, the Peloponnesian War had started in the year 411
BCE. It was terrible. My elder brother too went away for the war, and that was the last we saw
of him. I saw my mother and father look far older than they were. No one spoke about the war
when it would end, but it was always there, like a dark subject in the background. I could not
bear the silence or the tension that spread not only within my house but my neighbors, my
friends. No one wanted the war but had no clue how to end it.

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I observed that men on either side wanted victory at any cost and did not want to let go
on the battlefield. However, at home, they easily succumbed to their wives in their bed for carnal
pleasures. That made me think and focus on one weakness for men. What if the women refuse to
have sex with their husbands? And convince them to stop the war? But it seemed like an
impossible task. Who would listen to this idea and agree? Moreover, it would be challenging to
bring the women together and convince them to not to sleep with their husbands. If I was to go
ahead with the idea, I would need to observe and coach the women carefully. After all, the
bedroom was the only place where women could exercise power and influence over men.
I interacted with Myrrhine and somehow convinced her to how to act with her husband,
Kinesias. At first, she was aghast with the idea and found it very silly and outlandish. However,
she gradually saw the sense in what I said and agreed to follow my instructions. As I enjoyed the
position of a priestess, I had the ability to call all women for meetings. I knew I had all the
qualities of a good leader and intended to sue them. I was smarter than them and used a different
language and spoke with a more serious tone than the others. I think my personality and
positions in the society somehow helped me to command respect from the women and gradually
I was able to persuade them to see the point.
Analysis
Lysistrata is a play about a Greek woman Lysistrata. Traditionally speaking and
according to history, Greek women did not engage in sexual activity. However, recent studies
point out that women had more control over their sexual lives. Lysistrata play is seen more about
power, sex, and war. However, directors and translators argue over the philosophical ideas of the
play and what Aristophanes actually intended (Rex, 2001). Lysistrata has often been restaged
and re-performed as political unrest during the histories of other conflicts. For modern audiences,

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it might be less amusing to see a performance based on sexual politics (Atack, 2017). However,
one should not overlook the play’s political context and the ambiguous situation in Athens when
it was written.
The actor playing the role of Lysistrata has to understand the psychology and personality
of the character. The actor should focus on how she would think, what kind of expression she
would have and how would she move on the stage. Lysistrata is tired of the war and the ways of
men and want to bring peace in the country. She is attractive but a mature, modest woman.
Lysistrata is thought-provoking despite its sexually explicit humor and is made of serious
moments in Aristophanes' comedies. As women feel threatened by war, they make bold plans to
end the conflicts. Aristophanes presents Lysistrata as a woman of integrity who is patient,
sensible and kind (Scharffenberger, n.d.).
The character of Lysistrata is sophisticated and complex, so the actor should be well
prepared to present the strong-willed woman through speech and action. The actor should be able
to convey the leadership qualities of the strong-willed woman with the way she walks, moves
and gives the physical performance. Earlier and the19th-century versions of the play seem to
have problems with sex. Lysistrata shows the power that women have over their own bodies and
control sex to influence the course of political and social events as stated by Rex (2001).
The lines spoken by the actor and the language used should remind the audience of a
popular tragedy. As Lysistrata character on the stage argues in favor of women and proposes a
sex strike, she has to be assertive and convincing in her language and mannerism whenever she
is on stage. The actor has to be a persuasive orator and confident in her mannerisms.
As Lysistrata position is parallel to a priestess, the actor should be able to convey that

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Lysistrata is totally fearless in the face of violence and men. She is taking on serious
responsibilities, and as she has lots of lines on stage, the actor has to be well prepared. She has to
be loud and clear when speaking and without losing any dignity. In her opinion, the Spartans and
Athenians share common religion and history and should not be fighting with each other but
fighting their enemies together (Lambert, 2018). She has a momentous task in front of her as she
has to convince the women and motivate them to join against their men to end the war.
Lysistrata persona hovers between the actual goddess and a heroine. She is a serious
heroine who uses humor to achieve her aims and might say something that is inconsistent with
her alleged high principles. The actor playing the Lysistrata character has a brilliant role as she
would have to create a memorable personality by fusing together different traits and faces of
Lysistrata. Although Lysistrata is a serious character, the character has to keep the humorous side
of her in mind. He should keep in mind that she is a serious heroine who uses humor to achieve
her aims.
External
Lysistrata was originally written by Aristophanes and was first performed around 411
BC. As Aristophanes intended the play for powerful comedy, there is a drama within and
theatrical originality (Outa, 1999). The script of Lysistrata carries a high entertainment value.
There have been numerous translations and adaptions of Lysistrata that have created various
versions of the Greek play. Different performances of the play have expanded on the theoretical
discussions on the social and political meanings credited to women’s bodies (Wiederhold, 2015).
Lysistrata is a strong leader who leads Spartans and Athenians forward and shows a very
business-like attitude in her efforts to bring peace. Her character conveys that while male
brutality and ignorance can bring chaos, the touch of a woman can bring peace. Lysistrata

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craftily prepares for her plan and says loud and clear” I am a woman, but I have a mind.’
(Lambert, 2018). Therefore, special attention must be paid to the personality of the character,
how she looks, what she wears and how she walks and speaks on the stage. it is essential to
remember that Lysistrata was unusual as Aristophanes had placed a female in its leading role for
the first time in his play.
A. Character’s bodily appearance
As Lysistrata is a young woman who is physically and mentally strong, her bodily
appearance should reveal her confident stance and determination. She should be young and
healthy and of average height. There should be grace in her walk that reflects her confidence. As
she is a Greek woman, her body and facial features should reflect that. She should have a slim
waist and slender arms and legs. Her face can be painted with white-lead make-up and kohl-
rimmed eyes. Her chins and cheeks can carry red tattoos. Her long hair can be done in extremely
fine braids and drawn into a bun at the nape. Lysistrata can wear ivory curlers and hairpins as
hair jewelry. With her kohl-rimmed eyes on a pale painted face, it would be easier for
Lysistrata’s character to show her expressions and convey her emotions.
B. Character’s body posture
Lysistrata leads the Spartans and Athenians forward and is clear and determined about
the Reconciliation’s role. She tells the women ‘if he refuses to give you his hand, lead him by the
dick (Lambert, 2018). The naked figure of Reconciliation is presented by Lysistrata herself, and
she is a woman with the mind. Lysistrata is frustrated not just with the men but also the women
of her country as they want the war to end but show little interest in her plans. She is a typical
Spartan woman who is strong and confident. As she is shown to be determined and focused on
her aims. Her body should reflect that determination and focus of her mind. Clearly, Lysistrata is

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a very strong leader, and her characterization shows her to be fully earnest and a high-minded
leader. She is always ways serious-minded and undeniably heroic. When the character of
Lysistrata comes on stage, she should walk with confidence and with a direct gaze. Her gestures
and energy level should be dominating on the stage.
C. How the character moves
Lysistrata plan was to motivate the women to use their body as a sexual tool and charm to
persuade men to stop the war. She wants the women to dress provocatively in transparent
clothing and walk out on the men when they make advances. At times, her movement can be
strong and direct and free and sustained. The contrast between the punch and glide movement
can evoke more interest from the audience and draw their attention to what the character wants to
convey. As the theatrical device of the chorus would be present in the play, it will serve as a link
between the audience and the play. As the chorus members help to set the scene and emphasize
its emotional state, the character of Lysistrata will actively move on the stage. One should keep
in mind that although Lysistrata uses humor to achieve her aims, she should be interpreted as a
serious heroine and a mock-serious character who carries high principles.
D. Character’s voice
As Lysistrata character has to show her anger, frustration, and impatience with the war
and ways of men, the pitch and volume of her voice will vary. When she speaks to women and
persuades them to come together for collective action, her tone has to be commanding and
persuasive. As she carries authority with them, her tone can be loud and use chest voice. When
she speaks to the men, her speech has to be loud and clear with no faltering. Her articulation
should be precise so that she can out her thoughts across loudly and clearly. At times she has to
give orders, and at times she has to reason out with her opponents. Her speech and style of

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speaking should reflect her personality of a high-minded leader. At all times, her speech should
be strong and carry clear pronunciation. The idea is to let her audience get her message loud and
clear.
E. Character’s costume
Lysistrata character is that of a bold woman, who is the mastermind behind the sex strike.
Her costuming choices should reflect her personality, and one can drape her in the vibrant color
clothing of ancient Greece. However, her garment should be loose and comfortable enough to
allow her freedom of movement. She should wear a loose fabric of a bright shade that is draped
around her and fastened with brooches or pins. However, the fabric should be draped around her
in such a way that it reflects nothing. A respectable Greek woman revealed nothing and
Lysistrata character is a noble one that commanded respect. Her costume must be special and
unique so that she distinguished from the rest of the women. Lysistrata’s costume follows the
fashion of Greek and Roman statuary and is two-toned. Her costume can carry rich golden
adornments and a more vibrant palette when compared to other characters on the stage. She can
either go bare feet on the stage or wear leather sandals.
F. Stage and props
Stage and props should be carefully designed and chosen to suggest something about the
characters. The main use of props is to help the audience to understand the character and his
surroundings. As it is a Greek play, the stage should be set as what is expected of a Greek play
and carry Greek-inspired aesthetics. Greek style floor-to-ceiling columns can be used for
entrance, exit, and hiding points. The back if the stage can carry superimposed images of Greek
buildings and temples, shown under dramatic moments of light and shadows. There should be

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enough free space on the stage for the actors to move. Scenic elements and special effects can
add to the impact of the scene.
Visual image

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Reference
Atack, C. (2017). Precarity and Protest: The politics of Aristophanes’ Lysistrata. University of
Oxford, 1(1), 1–7.
Ancient Greek comedy, “Lysistrata,” opens this weekend. (2019). UWIRE Text. Retrieved from
http://lib-proxy.sunywcc.edu/login?url=http://search.ebscohost.com/login.aspx?
direct=true&db=edsgao&AN=edsgcl.575835704&site=eds-live
Dukes, H. (2012, March 29). Staging plays “Lysistrata” as battle of the sexes. South Bend Tribune
(IN). Retrieved from http://lib-proxy.sunywcc.edu/login?url=http://search.ebscohost.com/
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Hass, J., & Lomagin, N. (2011). Lysistrata’s Paradox: Wartime Duty, Survival, and Gender Status.
Lessons from the Blockade of Leningrad. Conference Papers -- American Sociological
Association, 2018. Retrieved from
http://lib-proxy.sunywcc.edu/login?url=http://search.ebscohost.com/login.aspx?
direct=true&db=sih&AN=85659546&site=eds-live
Johnston, I. (n.d.). Aristophanes Lysistrata. Vancouver Island University, 1(1), 1–81.
Lambert, M. . (2018). Mapping Women’s Bodies and the Male “Gaze”: Reconciliation in
Aristophanes’ Lysistrata. Akroterion, 63, 35–56.
Lysistrata Unbound at Odyssey Theatre. (2018). Plus Company Updates. Retrieved from http://lib-
proxy.sunywcc.edu/login?url=http://search.ebscohost.com/login.aspx?
direct=true&db=edsgbe&AN=edsgcl.540213305&site=eds-live