Comparing Seneca's Thyestes And The Court Theater

Thyestes is a gruesome tragedy written by the Roman playwright, Seneca. In this tale, two brothers have a quarrel over the kingdom, which comes to a head with Atreus’ gruesome plan of revenge. Atreus decides to kill Thyestes’ children, and serve the children to Thyestes as a feast that is presented as a celebration of peace between the two brothers. While themes of revenge, gore, and overwhelming passion are all present in this text, a production can use certain devices to emphasize one specific theme over another. For example, two recent productions of Seneca’s Thyestes—Barnard Columbia Ancient Drama Group in 2013 and The Court Theater in 2007—use seemingly opposing stylistic choices that highlight and emphasize different aspects of the play.

For example, in the image of the play (figure 2), we are presented with a scene in which the messanger has a conversation with the chorus about Atreus’ actions. Here, there is no real semblance of a set. Instead, there is simply the cinder-block wall of the actual building. Additionally, the costume choice of the characters is quite simple—both the messanger and the chorus wear togas. The only real set piece used in this scene is the large mask the chorus holds. While the choice to include the chorus mask is certainly used to evoke the classical style, the fact that only the chorus wears a mask (despite evidence that all characters would have worn masks at the time of the play’s creation) draws attention to the chorus and emphasizes the importance its role in this play. Additionally, the fact that the chorus is only played by one person—as opposed to the large group the part was intended for—seems to elevate the significance of that role. Since the power of the chorus as a whole is bestowed onto one person, that single individual becomes more powerful. Furthermore, the power of the chorus is emphasized in this particular moment because the chorus is on a physically higher level than the messanger. In Seneca’s play, the chorus is largely used a voice of reason against Atreus’ vengeful actions. In combining this fact with the power of the chorus in this particular production, the production seems to make a point of the power of reason. Thus, the production makes a subsequent point that Atreus’ overwhelming passions are so powerful that they can go against commanding