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* AuthorsSavingThrow: Reception to the first version of ''Theatre/{{Hippolytus}}'' (where Phaedra was much more blatantly trying to seduce Hippolytus) was so negative that he rewrote substantially to the second version, and that is the version that survived.
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* GenreTurningPoint: He pioneer many stage and narrative techniques for tragedy. In fact, it was his plays that were studied by scholars that led to the birth of the Renaissance as a whole and tragedy in particular. Some notable techniques that he introduced and was hugely influential included:
** The framing of heroes as ordinary, relatable people under extraordinary circumstances.
** The focus on female and minority characters as figures of pity and tragedy.
** The comedic elements within Tragedy. Most notably, his main characters are as equally be the butt of a joke as everyone else while his contemporaries if they employ comedy within tragedy is relegated to background characters.
** The framing of heroes as ordinary, relatable people under extraordinary circumstances.
** The focus on female and minority characters as figures of pity and tragedy.
** The comedic elements within Tragedy. Most notably, his main characters are as equally be the butt of a joke as everyone else while his contemporaries if they employ comedy within tragedy is relegated to background characters.
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* ValuesResonance: His extensive focus on female characters and recognize their tragedy as heroines or villains have earned him a lot more popularity to a modern audience compare to his contemporaries.
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* ValuesResonance: His extensive focus on female characters (specifically minority and low-born women) and recognize their tragedy as heroines or villains have earned him a lot more popularity to a modern audience compare to his contemporaries.
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* ValuesResonance: His extensive focus on female characters and recognize their tragedy as heroines or villains have earned him a lot more popularity to a modern audience compare to his contemporaries.
Is there an issue? Send a MessageReason:
None
Added DiffLines:
* AuthorsSavingThrow: Reception to the first version of ''Theatre/{{Hippolytus}}'' (where Phaedra was much more blatantly trying to seduce Hippolytus) was so negative that he rewrote substantially to the second version, and that is the version that survived.
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Indentation
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* MoralEventHorizon: Hera filling Herakles with a homicidal rage simply because he's one of Zeus' many bastard children.
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* MoralEventHorizon: MoralEventHorizon:
** Hera filling Herakles with a homicidal rage simply because he's one of Zeus' many bastard children.
** Hera filling Herakles with a homicidal rage simply because he's one of Zeus' many bastard children.
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* RescuedFromTheScrappyHeap:
** His play ''Theatre/TheTrojanWomen'' did this to ''many'' of the (flat) background female characters of the Trojan war mythology while boosting up the popularity of old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
* ValuesDissonance: The satyrs think nothing of gang-raping Helen. This is played for laughs.
** His play ''Theatre/TheTrojanWomen'' did this to ''many'' of the (flat) background female characters of the Trojan war mythology while boosting up the popularity of old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
* ValuesDissonance: The satyrs think nothing of gang-raping Helen. This is played for laughs.
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* RescuedFromTheScrappyHeap:
**RescuedFromTheScrappyHeap: His play ''Theatre/TheTrojanWomen'' did this to ''many'' of the (flat) background female characters of the Trojan war mythology while boosting up the popularity of old favorite Cassandra. The most prominent examples are Hecuba, Andromache and Helen who went from SatelliteCharacter to the lead in their titular plays.
*ValuesDissonance: ValuesDissonance:
** The satyrs think nothing of gang-raping Helen. This is played for laughs.
**
*
** The satyrs think nothing of gang-raping Helen. This is played for laughs.
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* PeripheryDemographic: His plays are incredibly popular with women and especially feminists. Not surprising considering the fact that, unlike his contemporaries, his works consistently have women of all ages and social classes in major and meaty role with complex personality and relatable characters flaws. And of course, [[Theatre/{{Medea}} one of the most famous tragic heroines]] is from one of his works.
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* PeripheryDemographic: His plays are incredibly popular with women and especially feminists. Not surprising considering the fact that, unlike his contemporaries, his works consistently have women of all ages and social classes in major and meaty role with complex personality and relatable characters flaws. And of course, [[Theatre/{{Medea}} one of the most famous tragic heroines]] is from one of his works.
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* PeripheryDemographic: His plays are incredibly popular with women and especially feminists. Not surprising considering the fact that, unlike his contemporaries, his works consistently have women of all ages and social classes in major and meaty role with complex personality and relatable characters flaws. And of course, [[Theatre/{{Medea}} one of the most famous tragic heroine]] is from one of his works.
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* PeripheryDemographic: His plays are incredibly popular with women and especially feminists. Not surprising considering the fact that, unlike his contemporaries, his works consistently have women of all ages and social classes in major and meaty role with complex personality and relatable characters flaws. And of course, [[Theatre/{{Medea}} one of the most famous tragic heroine]] heroines]] is from one of his works.
