Sophocles’ “Ajax” Performance Analysis

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Table of Contents

Introduction
Acting
Design
Dramaturgy
Conclusion
References

Introduction

‘Ajax’ is considered to be an outstanding play by Sophocles related to the earliest author’s surviving plays. The first performance of this play is not clearly identified; nevertheless, this work has grabbed attention of the audience since ancient time. The success of the work is connected with the author’s ability to transform the presentation of personal myths through popular ancient ones. The concept of heroism presented in the play ‘Ajax’ is successfully reflected through its dramatic nature and sufferings of the play protagonist. (Garner, 87) The analysis of the performance will be based on the investigation of three main issues to be properly developed in the play, which are acting, design and dramaturgy

Acting

The effectiveness of performance is closely dependant on the appropriate actors’ play allowing the audience to see the message and theme of the work. The central aspect of this play is aimed at Ajax’s tragic fate demonstration, who is the protagonist of the play and one of the bravest representatives of the Greek nation. The play underlines the idea that such values as wealth and power should never be considered the way to boasting and rejecting the gods. (Garner, 75)

A day lays low, a day lifts up again;
But still the gods love those of ordered soul,
and hate the evil. (Sophocles, 103)

A significant role plays the manner of Ajax hero performance; this character is the reflection of basic author’s idea and requires deep understanding, perception, reflection and embodiment on the stage. The actor is to demonstrate bravery characterizing the character and acting through envious and enraged desire to fight for winning Troy. Hatred and envy were the only feelings guiding the character’s actions.

Agamemnon is one more important character of the play; he is Greek warrior who managed to gain respect through his internal power and resistance. Agamemnon’s interaction with Ajax can be observed throughout the scenes; the character is opposed to the protagonist, supporting the idea of Ajax being no buried. The presentation of these two characters’ play on the stage is to be based on their interpersonal relationships and manner of treatment. Regarding the conflict faced after the death of Ajax, when Agamemnon wished he was not buried, the play starts with their positive cooperation and treatment.

It is not righteousness to outrage
A brave man dead, not even though you hate him. (Sophocles, 116)

The character’s are to be presented in the contradicting nature for the audience to understand the true nature of their further relationships. In contrast to Ajax, Agamemnon is to be played as more conscious warrior stimulated by the desire to win for justice; the actor is to demonstrate frank intentions of the hero, who despite the friendship with Odysseus and negative attitude to Ajax, insisted on his burying.

The manner of actors’ performance is to be concentrated on the concept of heroism and realism of the plot; it is necessary to underline the fact that the text is to be approached on the basis of mythology through the environment of battles, warriors and great power demonstration. (Hesk, 53)

Design

‘Ajax’ play realization is to be based on performance symbolism of the events details described by Sophocles; it is necessary to underline the idea that the most important thing is to save the atmosphere of ancient Greece, allowing the audience to dive into the mystery and unknown world for modern people. The importance can be explained by the necessity to make the audience understand the ancient environment, values and human behavior embodied in the characters. The design and decorations of the production play a significant role in the manner of work interpretations; one should note that much depends on setting, costumes, lights and even small details characterizing the atmosphere of ancient Greece and warriors living in that period. It is necessary to build the design on the mythological storied to sponge the features and human life experienced by past generations living in ancient period. Tissues are to be used decorated with the paintings of ancient Greek culture, weapons and dull lighting to underline the warrior atmosphere.

Certainly, the construction of the performance varies considering merit point; at the beginning of the play special stress is to be given to characters’ preparation to general crisis, and the chorus, as well as extravagant joy and the consequences of followed catastrophe. Nevertheless, after the death of the protagonist (on the stage), the tragic interest is ended; the details are to be based on characterizing the body disposal and the characters’ protracting wrangling over this process. Despite the fact that the tragic end is over, the play continues to develop the interest of the audience through the disclosure of Greece values and customs. It is necessary to underline the fact that the play is to demonstrate the subject of burial, which played a significant role to ancient Greeks. Burying was a symbolic ritual in Greece culture embodying the life continuation, peace and calm of the soul. (Seale, 201)

The importance of the atmosphere reflection lies in the ability to transform the ancient environment in the manner understandable for modern audience, even for those who know nothing of ancient mythology. It should be stressed that the involvement of necessary decoration can help to show the contrast between the ancient and modern Greece life. For example, the play can depict the importance of architecture and art for the state making Athens be one of the most popular representatives in these spheres; nowadays Greece is the leading country in tourism level, attracting the visitors by its ancient historical past. This element is to be compulsory demonstrated in the play by means of mythological symbols or elements of ancient Greek traditional culture; the elements of clothes, agriculture, amphora, paintings are to be used, symbolizing the slavery, values, and cultural objects. Besides, ‘Ajax’ is the reflection of the period when more than 30% of all the population were slaves, working in silver mines which had been the source of wealthy in that period. This idea is also very important, while it can show some historical background to the audience and underline the tragic atmosphere of people’s life throughout the world.

The role of light and costumes is considerable, while it underlines the status and sphere of character’s activities; so, the play needs to have as more ancient Greece elements as possible. The actors are to be dressed in the costumes symbolizing Ancient Greece culture, wearing chitons, or a tunics, being made of linen. They are to have leather sandals, or be barefoot.

Dramaturgy

‘Ajax’ reveals a number of themes important for understanding the author’s message and intention, based on personal created myths. Author strived to show the place of heroism in ancient Greece, the epoch principle values and traditions through burial, and the hero challenges under the pressure of envy, power and betray. To describe the play briefly, the play program is to cover the elements of tragedy, heroism and war-like atmosphere. One of the central themes disclosed in the play is regarded to be hatred and anger reflected in fights and power. The principle performance action is based on Ajax’s anger against Menelaus, Odysseus and Agamemnon; this concept is observed after Achilles’ armor voting by Odysseus. It should be noted that the hatred to the protagonist’s enemies is directed predominantly against these warriors leading to Ajax’s setting them to murder being asleep. The elements of hatred are observed after the protagonist’s suicide leading to unwillingness of Agamemnon and Menelaus to bury the body of Ajax offending the gods and raising up a new conflict. After the death of Achilles, the armor was claimed by Odysseus and Ajax, but the Trojan prisoners’ testimony resulted in the Odysseus recognition, as the more formidable foe awarding the armor to him. Ajax’ envy and enrage appeared to be the cause of the conflict.

The theme of destiny is considered to be of great importance as well; it is predominantly reflected through Ajax’s considerations about his life sense and position in the society. Ajax’s life sense was directed to winning Troy, by fighting his enemies. The fact that the hero did not get the armor changed the position and led to the desire of killing Odysseus, Agamemnon, and Menelaus.

My father, with gods’ help a man of naught
Might victory win; but I, I trust, shall grasp
Without their aid that glory for myself (Sophocles, 113)

It is necessary to stress that the character believes that his life is under total control of the destiny. All his achievements and even the rock of life are predetermined by the power from inside. (Palmer, 111)

Sophocles successfully released the basic theme of heroism; he managed to balance the values dominating ancient culture and characters’ fight for them. It should be stressed that to make the performance understandable for ordinary audience and unskilled in mythology people, it is necessary to transform the mood and original style of the play to the stage. The background knowledge of mythology which is reflected in the majority of literature works will stimulate deeper involvement into the main performance meaning. The dramatic and tragic destiny of the main character is to be contradicted to all the values and traditions characterizing the life of ancient Greece heroes; Sophocles illustrated the climax of the play through the death of its protagonist; from this very moment the interest to dramatic destiny of the whole performance is broken; nevertheless, it is necessary to raise the problem of burial process and all the customs connected with it, underlining the causes for fight and hatred between the warriors. (Wright, 195)

Conclusion

The analysis of the performance ‘Ajax’ by Sophocles successfully demonstrated the most important elements characterizing the work of ancient writer. The paper was concentrated on three important concepts, acting, design and dramaturgy, which gave an opportunity to evaluate the features and moods to be reflected by the actors’ play.

The analysis of the play disclosed all the features and ideas embodied by the author in the characters. It is necessary to stress the idea that appropriate reflection of heroes’ mood, decorations of ancient Greece, and themes disclosed by the author, will help to make the play easy for audience perception.

References

Garner, R. From Homer to tragedy: the art of allusion in Greek poetry. Routledge, 1990.

Hesk, J. Sophocles: Ajax. Duckworth, 2003.

Palmer, C. E. The Ajax of Sophocles. BiblioBazaar, LLC, 2008.

Seale, D. Vision and stagecraft in Sophocles. Taylor & Francis, 1982.

Sophocles. The Ajax. Longmans, Green, and Co., 1903.

Wright, W. C. A short history of Greek literature from Homer to Julian. American Book Company, 1997.

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