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Theatre of ancient Greece
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Bronze statue of a Greek actor. The half-mask over the eyes and nose identifies the figure as an actor. He wears a man's conical cap but female garments, following the Greek custom of men playing the roles of women. 150-100 BCE.
The ancient Greek drama was a theatrical culture that flourished in ancient Greece from c. 700 BC. The city-state of Athens, which became a significant cultural, political, and military power during this period, was its center, where it was institutionalised as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres to emerge there. Athens exported the festival to its numerous colonies and allies in order to promote a common cultural identity. Only men were allowed to play female parts.
Contents
[hide]
1 Etymology
2 Origins
3 New inventions during the classical period
4 Hellenistic period
5 Characteristics of the buildings
5.1 Scenic elements
6 Masks
6.1 Masks
6.2 Mask details
6.3 Mask functions
6.4 Other costume details
7 See also
8 References
8.1 Bibliography
9 Further reading
10 External links
Etymology[edit]
The word τραγῳδία (tragoidia), from which the word "tragedy" is derived, is a compound of two Greek words: τράγος (tragos) or "goat" and ᾠδή (ode) meaning "song", from ἀείδειν (aeidein), "to sing".[1] This etymology indicates a link with the practices of the ancient Dionysian cults. It is impossible, however, to know with certainty how these fertility rituals became the basis for tragedy and comedy.[2]
Origins[edit]
Main article: Greek tragedy
Panoramic view of the ancient theatre at Epidaurus.
The classical Greeks valued the power of spoken word, and it was their main method of communication and storytelling. Bahn and Bahn write, "To Greeks the spoken word was a living thing and infinitely preferable to the dead symbols of a written language." Socrates himself believed that once something was written down, it lost its ability for change and growth. For these reasons, among many others, oral storytelling flourished in Greece.[3]
Greek tragedy as we know it was created in Athens around the time of 532 BC, when Thespis was the earliest recorded actor. Being a winner of the first theatrical contest held in Athens, he was the exarchon, or leader,[4] of the dithyrambs performed in and around Attica, especially at the rural Dionysia. By Thespis' time, the dithyramb had evolved far away from its cult roots. Under the influence of heroic epic, Doric choral lyric and the innovations of the poet Arion, it had become a narrative, ballad-like genre. Because of these, Thespis is often called the "Father of Tragedy"; however, his importance is disputed, and Thespis is sometimes listed as late as 16th in the chronological order of Greek tragedians; the statesman Solon, for example, is credited with creating poems in which characters speak with their own voice, and spoken performances of Homer's epics by rhapsodes were popular in festivals prior to 534 BC.[5] Thus, Thespis's true contribution to drama is unclear at best, but his name has been given a longer life, in English, as a common term for performer — i.e., a "thespian."
The dramatic performances were important to the Athenians – this is made clear by the creation of a tragedy competition and festival in the City Dionysia. This was organized possibly to foster loyalty among the tribes of Attica (recently created by Cleisthenes). The festival was created roughly around 508 BC. While no drama texts exist from the sixth century BC, we do know the names of three competitors besides Thespis: Choerilus, Pratinas, and Phrynichus. Each is credited with different innovations in the field.
More is known about Phrynichus. He won his first competition between 511 BC and 508 BC. He produced tragedies on themes and subjects later exploited in the golden age such as the Danaids, Phoenician Women and Alcestis. He was the first poet we know of to use a historical subject – his Fall of Miletus, produced in 493-2, chronicled the fate of the town of Miletus after it was conquered by the Persians. Herodotus reports that "the Athenians made clear their deep grief for the taking of Miletus in many ways, but especially in this: when Phrynichus wrote a play entitled "The Fall of Miletus" and produced it, the whole theatre fell to weeping; they fined Phrynichus a thousand drachmas for bringing to mind a calamity that affected them so personally and forbade the performance of that play forever."[6] He is also thought to be the first to use female characters (though not female performers).[7]
Until the Hellenistic period, all tragedies were unique pieces written in honour of Dionysus and played only once, so that today we primarily have the pieces that were still remembered well enough to have been repeated when the repetition of old tragedies became fashionable (the accidents of survival, as well as the subjective tastes of the Hellenistic librarians later in Greek history, also played a role in what survived from this period).
New inventions during the classical period[edit]
Theater of Dionysus, Athens, Greece. Brooklyn Museum Archives, Goodyear Archival Collection
After the Great Destruction of Athens by the Persian Empire in 480 BCE, the town and acropolis were rebuilt, and theatre became formalized and an even greater part of Athenian culture and civic pride. This century is normally regarded as the Golden Age of Greek drama. The centre-piece of the annual Dionysia, which took place once in winter and once in spring, was a competition between three tragic playwrights at the Theatre of Dionysus. Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject). Beginning in a first competition in 486 BC each playwright submitted a comedy.[8] Aristotle claimed that Aeschylus added the second actor (deuteragonist), and that Sophocles introduced the third (tritagonist). Apparently the Greek playwrights never used more than three actors based on what is known about Greek theatre.[9]
Tragedy and comedy were viewed as completely separate genres, and no plays ever merged aspects of the two. Satyr plays dealt with the mythological subject matter of the tragedies, but in a purely comedic manner.
Hellenistic period[edit]
Roman, Republican or Early Imperial, Relief of a seated poet (Menander) with masks of New Comedy, 1st century B.C. – early 1st century A.D., Princeton University Art Museum
The power of Athens declined following its defeat in the Peloponnesian War against the Spartans. From that time on, the theatre started performing old tragedies again. Although its theatrical traditions seem to have lost their vitality, Greek theatre continued into the Hellenistic period (the period following Alexander the Great's conquests in the fourth century BCE). However, the primary Hellenistic theatrical form was not tragedy but 'New Comedy', comic episodes about the lives of ordinary citizens. The only extant playwright from the period is Menander. One of New Comedy's most important contributions was its influence on Roman comedy, an influence that can be seen in the surviving works of Plautus and Terence.
Characteristics of the buildings[edit]
Ancient Greek theatre in Delos
The Ancient Theatre of Delphi.
The plays had a chorus from 12 to 15[10] people, who performed the plays in verse accompanied by music, beginning in the morning and lasting until the evening. The performance space was a simple circular space, the orchestra, where the chorus danced and sang. The orchestra, which had an average diameter of 78 feet, was situated on a flattened terrace at the foot of a hill, the slope of which produced a natural theatron, literally "seeing place". Later, the term "theatre" came to be applied to the whole area of theatron, orchestra, and skené. The coryphaeus was the head chorus member who could enter the story as a character able to interact with the characters of a play.
A drawing of an ancient theatre. Terms are in Greek language and Latin letters.
The theatres were originally built on a very large scale to accommodate the large number of people on stage, as well as the large number of people in the audience, up to fourteen thousand. Mathematics played a large role in the construction of these theatres, as their designers had to be able to create acoustics in them such that the actors' voices could be heard throughout the theatre, including the very top row of seats. The Greek's understanding of acoustics compares very favourably with the current state of the art. The first seats in Greek theatres (other than just sitting on the ground) were wooden, but around 499 BCE the practice of inlaying stone blocks into the side of the hill to create permanent, stable seating became more common. They were called the "prohedria" and reserved for priests and a few most respected citizens.
In 465 BCE, the playwrights began using a backdrop or scenic wall, which hung or stood behind the orchestra, which also served as an area where actors could change their costumes. It was known as the skênê (from which the word "scene" derives). The death of a character was always heard behind the skênê, for it was considered inappropriate to show a killing in view of the audience.[citation needed] Conversely, there are scholarly arguments that death in Greek tragedy was portrayed off stage primarily because of dramatic considerations, and not prudishness or sensitivity of the audience.[11] In 425 BC a stone scene wall, called a paraskenia, became a common supplement to skênê in the theatres. A paraskenia was a long wall with projecting sides, which may have had doorways for entrances and exits. Just behind the paraskenia was the proskenion. The proskenion ("in front of the scene") was beautiful, and was similar to the modern day proscenium.
Greek theatres also had tall arched entrances called parodoi or eisodoi, through which actors and chorus members entered and exited the orchestra. By the end of the 5th century BC, around the time of the Peloponnesian War, the skênê, the back wall, was two stories high. The upper story was called the episkenion. Some theatres also had a raised speaking place on the orchestra called the logeion.
Scenic elements[edit]
There were several scenic elements commonly used in Greek theatre:
mechane, a crane that gave the impression of a flying actor (thus, deus ex machina)
ekkyklêma, a wheeled platform often used to bring dead characters into view for the audience
pinakes, pictures hung to create scenery
thyromata, more complex pictures built into the second-level scene (3rd level from ground)
phallic props were used for satyr plays, symbolizing fertility in honour of Dionysus.
Masks[edit]
Masks[edit]
Tragic Comic Masks Hadrian's Villa mosaic
The Ancient Greek term for a mask is prosopon (lit., "face"),[12] and was a significant element in the worship of Dionysus at Athens, likely used in ceremonial rites and celebrations. Most of the evidence comes from only a few vase paintings of the 5th century BC, such as one showing a mask of the god suspended from a tree with decorated robe hanging below it and dancing and the Pronomos vase,[13] which depicts actors preparing for a Satyr play.[14] No physical evidence remains available to us, as the masks were made of organic materials and not considered permanent objects, ultimately being dedicated at the altar of Dionysus after performances. Nevertheless, the mask is known to have been used since the time of Aeschylus and considered to be one of the iconic conventions of classical Greek theatre.[15]
Masks were also made for members of the chorus, who play some part in the action and provide a commentary on the events in which they are caught up. Although there are twelve or fifteen members of the tragic chorus they all wear the same mask because they are considered to be representing one character.
Mask details[edit]
Mask dating from the 4th/3rd century BC, Stoa of Attalos
Illustrations of theatrical masks from 5th century display helmet-like masks, covering the entire face and head, with holes for the eyes and a small aperture for the mouth, as well as an integrated wig. These paintings never show actual masks on the actors in performance; they are most often shown being handled by the actors before or after a performance, that liminal space between the audience and the stage, between myth and reality.[14] This demonstrates the way in which the mask was to 'melt' into the face and allow the actor to vanish into the role.[16] Effectively, the mask transformed the actor as much as memorization of the text. Therefore, performance in ancient Greece did not distinguish the masked actor from the theatrical character.
The mask-makers were called skeuopoios or "maker of the properties," thus suggesting that their role encompassed multiple duties and tasks. The masks were most likely made out of light weight, organic materials like stiffened linen, leather, wood, or cork, with the wig consisting of human or animal hair.[17] Due to the visual restrictions imposed by these masks, it was imperative that the actors hear in order to orient and balance themselves. Thus, it is believed that the ears were covered by substantial amounts of hair and not the helmet-mask itself. The mouth opening was relatively small, preventing the mouth to be seen during performances. Vervain and Wiles posit that this small size discourages the idea that the mask functioned as a megaphone, as originally presented in the 1960s.[14] Greek mask-maker, Thanos Vovolis, suggests that the mask serves as a resonator for the head, thus enhancing vocal acoustics and altering its quality. This leads to increased energy and presence, allowing for the more complete metamorphosis of the actor into his character.[18]
Mask functions[edit]
Mosaic detail from the House of the Faun
In a large open-air theatre, like the Theatre of Dionysus in Athens, the classical masks were able to create a sense of dread in the audience creating large scale panic, especially since they had intensely exaggerated facial features and expressions.[18] They enabled an actor to appear and reappear in several different roles, thus preventing the audience from identifying the actor to one specific character. Their variations help the audience to distinguish sex, age, and social status, in addition to revealing a change in a particular character's appearance, e.g. Oedipus after blinding himself.[19] Unique masks were also created for specific characters and events in a play, such as The Furies in Aeschylus' Eumenides and Pentheus and Cadmus in Euripides' The Bacchae. Worn by the chorus, the masks created a sense of unity and uniformity, while representing a multi-voiced persona or single organism and simultaneously encouraged interdependency and a heightened sensitivity between each individual of the group. Only 2-3 actors were allowed on the stage at one time, and masks permitted quick transitions from one character to another. There were only male actors, but masks allowed them to play female characters.
Other costume details[edit]
Comedy and tragedy masks
See also: Sock and buskin
The actors in these plays that had tragic roles wore boots called cothurni that elevated them above the other actors. The actors with comedic roles only wore a thin soled shoe called a sock. For this reason, dramatic art is sometimes alluded to as "Sock and Buskin."
Melpomene is the muse of tragedy and is often depicted holding the tragic mask and wearing cothurni. Thalia is the muse of comedy and is similarly associated with the mask of comedy and the comedic "socks".
Male actors playing female roles would wear a wooden structure on their chests (posterneda) to imitate the look of breasts and another structure on their stomachs (progastreda) to make them appear softer and more lady like. They would also wear white body stockings under their costumes to make their skin appear fairer.
Most costuming detail comes from pottery paintings from that time as costumes and masks were fabricated out of disposable material, so there are little to no remains of any costume from that time. The biggest source of information is the Pronomos Vase where actors are painted at a show's after party.
Costuming would give off a sense of character, as in gender, age, social status, and class. For example, characters of higher class would be dressed in nicer clothing, although everyone was dressed fairly nicely. Contrary to popular belief, they did not dress in only rags and sandals, as they wanted to impress. Some examples of Greek theatre costuming include long robes called the chiton that reached the floor for actors playing gods, heroes, and old men. Actors playing Goddesses and women characters that held a lot of power wore purples and golds. Actors playing Queens and Princesses wore long cloaks that dragged on the ground and were decorated with gold stars and other jewels, and warriors were dressed in a variety of armor and wore helmets adorned with plumes. Costumes were supposed to be colourful and obvious to be easily seen by every seat in the audience.
See also[edit]
List of ancient Greek playwrights
List of ancient Greek theatres
History of theatre
Representation of women in Athenian tragedy
Agôn
Ancient Greek comedy
Archon
Aulos
Buskin
Chorêgos
Chorus
Chorus of the elderly in classical Greek drama
Comedy
Coryphaeus
Deus ex machina
Deuteragonist
Didascaliae
Didaskalos
Dionysia festivals
Dithyramb
Eisodos
Ekkyklêma
Episode
Epode
Kommós
Mêchanê
Melpomene
Monody
Ode
Onomastì komodèin
Orchêstra
Parabasis
Párodos
Phlyax play
Protagonist
Rhapsode
Satyr play
Skênê
Sparagmos
Stásimon
Stichomythia
Strophê
Thalia (Muse)
Theatre of ancient Rome
Theatre of Dionysus
Theoric fund
Thespis
Tragedy
Tritagonist
List of films based on Greek drama
References[edit]
Jump up ^ Merriam-Webster definition of tragedy
Jump up ^ Ridgeway (1910), p. 83
Jump up ^ Bahn, Eugene & Margaret L. Bahn (1970). A History of Oral Interpretation. Minneapolis, MN: Burgess Publishing Company. p. 3.
Jump up ^ Aristotle, Poetics
Jump up ^ Brockett (1999), pp. 16–17
Jump up ^ Herodotus, Histories, 6/21
Jump up ^ Brockett (1999), p. 17
Jump up ^ Kuritz (1988), p. 21
Jump up ^ Kuritz (1988), p. 24
Jump up ^ Jansen (2000)
Jump up ^ Pathmanathan (1965)
Jump up ^ Liddell & Scott via Perseus @ UChicago
Jump up ^ Tufts.edu
^ Jump up to: a b c Vervain & Wiles (2004), p. 255
Jump up ^ Varakis (2004)
Jump up ^ Vervain & Wiles (2004), p. 256
Jump up ^ Brooke (1962), p. 76
^ Jump up to: a b Vovolis & Zamboulakis (2007)
Jump up ^ Brockett & Ball (2000), p. 70
Bibliography[edit]
Brockett, Oscar G. (1999). History of the Theatre (8th ed.). Allyn and Bacon. ISBN 9780205290260.
Brockett, Oscar G.; Ball, Robert (2000). The Essential Theatre (7th ed.). Orlando, FL: Harcourt Brace.
Brooke, Iris (1962). Costume in Greek Classical Drama. London: Methuen.
Jansen, Jan (2000). Lebensqualität im Theater des demokratischen Athen: Kult, Politik und Alte Komödie [Quality of life in the theatre of Democratic Athens: cults, politics and ancient comedy] (PDF) (in German). Munich, Germany: GRIN. ISBN 9783638291873.
Kuritz, Paul (1988). The Making of Theatre History. Englewood Cliffs, NJ: Prentice Hall. ISBN 9780135478615.
Pathmanathan, R. Sri (1965). "Death in Greek tragedy". Greece and Rome. 12 (1): 2–14. JSTOR 642398.
Ridgeway, William (1910). Origin of Tragedy with Special Reference to the Greek Tragedians.
Varakis, Angie (2004). "Research on the Ancient Mask". Didaskalia. 6 (1).
Vervain, Chris; Wiles, David (2004). The Masks of Greek Tragedy as Point of Departure for Modern Performance. New Theatre Quarterly. 67. Cambridge: Cambridge University Press.
Vovolis, Thanos; Zamboulakis, Giorgos (2007). "The acoustical mask of Greek tragedy". Didaskalia. 7 (1).
Library resources about
Theatre of ancient Greece
Online books
Resources in your library
Resources in other libraries
Further reading[edit]
Buckham, Philip Wentworth, Theatre of the Greeks, London 1827.
Davidson, J.A., Literature and Literacy in Ancient Greece, Part 1, Phoenix, 16, 1962, pp. 141–56.
Davidson, J.A., Peisistratus and Homer, TAPA, 86, 1955, pp. 1–21.
Easterling, P.E. (editor) (1997). The Cambridge Companion to Greek Tragedy. Cambridge, U.K.: Cambridge University Press. ISBN 0-521-41245-5. CS1 maint: Extra text: authors list (link)
Easterling, Patricia Elizabeth; Hall, Edith (eds.), Greek and Roman Actors: Aspects of an Ancient Profession, Cambridge University Press, 2002. ISBN 0-521-65140-9
Else, Gerald F.
Aristotle's Poetics: The Argument, Cambridge, Massachusetts 1967.
The Origins and Early Forms of Greek Tragedy, Cambridge, Massachusetts 1965.
The Origins of ΤΡΑΓΩΙΔΙΑ, Hermes 85, 1957, pp. 17–46.
Flickinger, Roy Caston, The Greek theater and its drama, Chicago, University of Chicago Press, 1918
Freund, Philip, The Birth of Theatre, London: Peter Owen, 2003. ISBN 0-7206-1170-9
Haigh, A. E., The Attic Theatre, 1907.
Harsh, Philip Whaley, A handbook of Classical Drama, Stanford University, California, Stanford University Press; London, H. Milford, Oxford University Press, 1944.
Lesky, A. Greek Tragedy, trans. H.A., Frankfurt, London and New York 1965.
Ley, Graham. A Short Introduction to the Ancient Greek Theatre. University of Chicago, Chicago: 2006
Ley, Graham. Acting Greek Tragedy. University of Exeter Press, Exeter: 2015
Loscalzo, Donato, Il pubblico a teatro nella Grecia antica, Roma 2008
McDonald, Marianne, Walton, J. Michael (editors), The Cambridge companion to Greek and Roman theatre, Cambridge ; New York: Cambridge University Press, 2007. ISBN 0-521-83456-2
Moulton, Richard Green, The ancient classical drama; a study in literary evolution intended for readers in English and in the original, Oxford, The Clarendon Press, 1890.
Padilla, Mark William (editor), "Rites of Passage in Ancient Greece: Literature, Religion, Society", Bucknell University Press, 1999. ISBN 0-8387-5418-X
Pickard-Cambridge, Sir Arthur Wallace
Dithyramb, Tragedy, and Comedy , Oxford 1927.
The Theatre of Dionysus in Athens, Oxford 1946.
The Dramatic Festivals of Athens, Oxford 1953.
Rabinowitz, Nancy Sorkin (2008). Greek Tragedy. Malden, MA: Blackwell Publishers. ISBN 978-1-4051-2160-6.
Riu, Xavier, Dionysism and Comedy, 1999. review
Ross, Stewart. Greek Theatre. Wayland Press, Hove: 1996
Rozik, Eli, The roots of theatre: rethinking ritual and other theories of origin, Iowa City: University of Iowa Press, 2002. ISBN 0-87745-817-0
Schlegel, August Wilhelm, Lectures on Dramatic Art and Literature, Geneva 1809.
Sommerstein, Alan H., Greek Drama and Dramatists, Routledge, 2002.
Sourvinou-Inwood, Christiane, Tragedy and Athenian Religion, Oxford:University Press 2003.
Tsitsiridis, Stavros, "Greek Mime in the Roman Empire (P.Oxy. 413: Charition and Moicheutria", Logeion 1 (2011) 184-232.
Wiles, David. Greek Theatre Performance: An Introduction. Cambridge University Press, Cambridge: 2000
Wiles, David. The Masks of Menander: Sign and Meaning in Greek and Roman Performance, Cambridge, 1991.
Wiles, David. Mask and Performance in Greek Tragedy: from ancient festival to modern experimentation, Cambridge, 1997.
Wise, Jennifer, Dionysus Writes: The Invention of Theatre in Ancient Greece, Ithaca 1998. review
Zimmerman, B., Greek Tragedy: An Introduction, trans. T. Marier, Baltimore 1991.
External links[edit]
Wikisource has original works on the topic: Theatre of ancient Greece
Wikimedia Commons has media related to Ancient Greek theatre.
Wikimedia Commons has media related to Greek and Roman theatre masks.
Ancient Greek theatre history and articles
Drama lesson 1: The ancient Greek theatre
Ancient Greek Theatre
The Ancient Theatre Archive, Greek and Roman theatre architecture – Dr. Thomas G. Hines, Department of Theatre, Whitman College
Greek and Roman theatre glossary
Illustrated Greek Theater – Dr. Janice Siegel, Department of Classics, Hampden–Sydney College, Virginia
Searchable database of monologues for actors from Ancient Greek Theatre
Logeion: A Journal of Ancient Theatre with free access which publishes original scholarly articles including its reception in modern theatre, literature, cinema and the other art forms and media, as well as its relation to the theatre of other periods and geographical regions.
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text:
List of Davis Cup champions
From Wikipedia, the free encyclopedia
Jump to: navigation, search
List of Davis Cup champions
Current season, competition or edition:
2017 Davis Cup
Sport
tennis
Founded
1900; 117 years ago (1900)
Founder
Dwight F. Davis
No. of teams
16 (World Group)
135 (2016 total)
Countries
ITF member nations
Most recent
champion(s)
France (10 titles)
Most titles
United States (32 titles)
Official website
daviscup.com
The Davis Cup is an annual international team event in men's tennis. Established in 1900 as the International Lawn Tennis Challenge, it is run by the International Tennis Federation (ITF), who describe it as the "World Cup of tennis."[1] The first event in 1900 was a match between Great Britain and the United States,[2] while 135 nations have entered the 2016 Davis Cup.[3]
The tournament sees players competing for their country in four singles and one doubles matches, known as rubbers, over the course of three days, with the team that wins three rubbers progressing.[4] The countries are divided into groups based upon their location or performance in previous years. The Davis Cup World Group is the top level of the competition and features matches between players from the top 16 countries at the start of the year.[3] Countries that lose their first round match face a relegation play-off against winning countries from the continental zones. World Group winning countries progress to the quarter-finals. Nations have to win a further three ties in order to claim the position of Davis Cup Champions.[3]
The United States are the most successful nation in the history of the competition, with 32 victories. Australia are second with 28 and Great Britain are third with 10. Teams from Europe have won the competition the most with 42 victories, followed by North America with 32 and Oceania with 28. Argentina are the current champions, they beat Croatia 3–2 in the final in 2016.[5]
Contents
[hide]
1 History
2 Winners
3 Performance by team
4 Performance by continent
5 References
History[edit]
The Davis Cup was founded in 1900 as the International Lawn Tennis Challenge. Four members of Harvard University wished to challenge Great Britain in a tennis competition. One of the American players, Dwight F. Davis, designed a tournament format and ordered a sterling silver trophy from Shreve, Crump & Low for approximately $1,000.[6] The first match, held at Longwood Cricket Club in Boston, Massachusetts, was won by the American team 3–0.[7] There was no match the following year, but the United States retained the trophy in 1902, beating Great Britain 3–2. This was followed by four successive victories for Britain, from 1903 to 1906. The 1904 Davis Cup saw new teams compete for the first time, as Belgium and France entered.[8]
Australasia (Australia and New Zealand) became the first victors outside of Britain and the United States when they won the tournament in 1907.[9] No tournament was held in 1910 as no country challenged Australasia,[10] who retained the trophy until 1912 when they were defeated by Great Britain.[11] The United States and Australasia won the two competitions prior to the outbreak of the First World War, in 1914. The tournament resumed in 1919, with Australasia retaining the trophy, beating Great Britain 4–1.[12] The Americans won the following seven tournaments before they were defeated 3–2 by France in 1927.[13] The tournament underwent restructuring for the 1923 edition. Teams were split into two zones; the 'America Zone' and 'Europe Zone', with the winners playing each other to determine who would face the defending champions.[14]
Doubles match between the Australasia and British isles in the 1912 International Lawn Tennis Challenge final.
The French won a further five successive tournaments before they were beaten 3–2 by Great Britain in 1933.[15] Australia were the last champions before the onset of the Second World War. They beat the United States 3–2 in 1939.[16] Upon resumption of the tournament in 1946, it was renamed the Davis Cup after the death of Dwight D. Davis in 1945.[17] The United States regained the title after they beat Australia 5–0.[18] They retained the title until 1950 when Australia won 4–1. This marked the start of Australian dominance of the Davis Cup, as they only lost three times from 1950 to 1967.[19] Prior to 1972, the champion received a bye directly to the final. This was changed so that the champion had to play in every round.[1]
The 1974 Davis Cup marked the first time that neither Australia or the United States won the final since 1936, as South Africa and India were the finalists.[20] However, the final was not contested as the Indian team refused to travel to South Africa in protest at the South African government's apartheid policies. South Africa were awarded the Davis Cup on walkover.[21] Sweden beat Czechoslovakia 3–2 the following year to become the first European nation since 1936 to win the Davis Cup. The Davis Cup underwent further reorganisation in 1981 when a 16 team World Group was introduced. The remaining nations were split into regional groups with promotion and relegation to and from the World Group.[1]
Sweden reached two more finals in 1988 and 1989 but lost both times to West Germany.[22][23] The United States regained the title in 1990,[24] but they lost 3–1 to France the following year.[25] They regained the title a year later, but could not defend it in 1993 as Germany won. Sweden were victorious in 1994, and they won a further two Davis Cups in 1997 and 1998.[26] Australia regained the Davis Cup in 1999,[27] but they lost the following two finals to Spain and France respectively.[28][29] Russia won their first Davis Cup in 2002,[30] before Australia regained the title the following year.[31] Spain won the tournament for the second time in 2004,[32] and would win a further three titles in 2008, 2009 and 2011.[33] The Czech Republic won successive Davis Cups in 2012 and 2013,[34] before Switzerland won their first title in 2014.[35] Great Britain won their first Davis Cup since 1936 when they beat Belgium 3–1.[5]
Winners[edit]
Key
* Title won by away country
G Grass
C Clay
CP Carpet
H Hard
Ix Indoor
The "Year" column refers to the year the Davis Cup tournament was held, and wikilinks to the article about that tournament.
Links in the "Winners" and "Runners-up" columns point to the articles for the national teams of the countries, not the articles for the countries.
Davis Cup champions[36]
Year
Winner
Score
Runner-up
Finals Venue (surface)
Location
1900
United States
3–0 British Isles Longwood Cricket Club (G) Boston, United States
1901
~Not contested
00 !w/o &
—
&
—
&
—
1902
United States
3–2 British Isles Crescent Athletic Club (G) Brooklyn, United States
1903
British Isles
4–1* United States Longwood Cricket Club (G) Boston, United States
1904
British Isles
5–0 Belgium Worple Road (G) London, United Kingdom
1905
British Isles
5–0 United States Queen's Club (G) London, United Kingdom
1906
British Isles
5–0 United States Worple Road (G) London, United Kingdom
1907
Australasia
3–2* British Isles Worple Road (G) London, United Kingdom
1908
Australasia
3–2 United States Albert Ground (G) Melbourne, Australia
1909
Australasia
5–0 United States Double Bay Grounds (G) Sydney, Australia
1910
~Not contested
00 !w/o &
—
&
—
&
—
1911
Australasia
4–0 United States Lancaster Park (G) Christchurch, New Zealand
1912
British Isles
3–2* Australasia Albert Ground (G) Melbourne, Australia
1913
United States
3–2* Great Britain Worple Road (G) London, United Kingdom
1914
Australasia
3–2* United States West Side Tennis Club (G) New York City, United States
1915
~Not contested
&
—
&
—
&
—
&
—
1916
~Not contested
&
—
&
—
&
—
&
—
1917
~Not contested
&
—
&
—
&
—
&
—
1918
~Not contested
&
—
&
—
&
—
&
—
1919
Australasia
4–1 Great Britain Double Bay Grounds (G) Sydney, Australia
1920
United States
5–0* Australasia Domain Cricket Club (G) Auckland, New Zealand
1921
United States
5–0 Japan West Side Tennis Club (G) New York City, United States
1922
United States
4–1 Australasia West Side Tennis Club (G) New York City, United States
1923
United States
4–1 Australia West Side Tennis Club (G) New York City, United States
1924
United States
5–0 Australia Germantown Cricket Club (G) Philadelphia, United States
1925
United States
5–0 France Germantown Cricket Club (G) Philadelphia, United States
1926
United States
4–1 France Germantown Cricket Club (G) Philadelphia, United States
1927
France
3–2* United States Germantown Cricket Club (G) Philadelphia, United States
1928
France
4–1 United States Stade Roland Garros (C) Paris, France
1929
France
3–2 United States Stade Roland Garros (C) Paris, France
1930
France
4–1 United States Stade Roland Garros (C) Paris, France
1931
France
3–2 Great Britain Stade Roland Garros (C) Paris, France
1932
France
3–2 United States Stade Roland Garros (C) Paris, France
1933
Great Britain
3–2* France Stade Roland Garros (C) Paris, France
1934
Great Britain
4–1 United States Centre Court, Wimbledon (G) London, United Kingdom
1935
Great Britain
5–0 United States Centre Court, Wimbledon (G) London, United Kingdom
1936
Great Britain
3–2 Australia Centre Court, Wimbledon (G) London, United Kingdom
1937
United States
4–1* Great Britain Centre Court, Wimbledon (G) London, United Kingdom
1938
United States
3–2 Australia Germantown Cricket Club (G) Philadelphia, United States
1939
Australia
3–2* United States Merion Cricket Club (G) Haverford, United States
1940
~Not contested
&
—
&
—
&
—
&
—
1941
~Not contested
&
—
&
—
&
—
&
—
1942
~Not contested
&
—
&
—
&
—
&
—
1943
~Not contested
&
—
&
—
&
—
&
—
1944
~Not contested
&
—
&
—
&
—
&
—
1945
~Not contested
&
—
&
—
&
—
&
—
1946
United States
5–0* Australia Kooyong Stadium (G) Melbourne, Australia
1947
United States
4–1 Australia West Side Tennis Club (G) New York City, United States
1948
United States
5–0 Australia West Side Tennis Club (G) New York City, United States
1949
United States
4–1 Australia West Side Tennis Club (G) New York City, United States
1950
Australia
4–1* United States West Side Tennis Club (G) New York City, United States
1951
Australia
3–2 United States White City Stadium (G) Sydney, Australia
1952
Australia
4–1 United States Memorial Drive Tennis Centre (G) Adelaide, Australia
1953
Australia
3–2 United States Kooyong Stadium (G) Melbourne, Australia
1954
United States
3–2* Australia White City Stadium (G) Sydney, Australia
1955
Australia
5–0* United States West Side Tennis Club (G) New York City, United States
1956
Australia
5–0 United States Memorial Drive Tennis Centre (G) Adelaide, Australia
1957
Australia
3–2 United States Kooyong Stadium (G) Melbourne, Australia
1958
United States
3–2* Australia Milton Courts (G) Brisbane, Australia
1959
Australia
3–2* United States West Side Tennis Club (G) New York City, United States
1960
Australia
4–1 Italy White City Stadium (G) Sydney, Australia
1961
Australia
5–0 Italy Kooyong Stadium (G) Melbourne, Australia
1962
Australia
5–0 Mexico Milton Courts (G) Brisbane, Australia
1963
United States
3–2* Australia Memorial Drive Tennis Centre (G) Adelaide, Australia
1964
Australia
3–2* United States Harold Clark Courts (C) Cleveland, United States
1965
Australia
4–1 Spain White City Stadium (G) Sydney, Australia
1966
Australia
4–1 India Kooyong Stadium (G) Melbourne, Australia
1967
Australia
4–1 Spain Milton Courts (G) Brisbane, Australia
1968
United States
4–1* Australia Memorial Drive Tennis Centre (G) Adelaide, Australia
1969
United States
5–0 Romania Harold Clark Courts (H) Cleveland, United States
1970
United States
5–0 West Germany Harold Clark Courts (H) Cleveland, United States
1971
United States
3–2 Romania Olde Providence Racquet Club (C) Charlotte, United States
1972
United States
3–2* Romania Club Sportiv Progresul (C) Bucharest, Romania
1973
Australia
5–0* United States Public Auditorium (ICp) Cleveland, United States
1974
South Africa
00 !w/o India &
—
&
—
1975
Sweden
3–2 Czechoslovakia Kungliga tennishallen (ICp) Stockholm, Sweden
1976
Italy
4–1* Chile Estadio Nacional (C) Santiago, Chile
1977
Australia
3–1 Italy White City Stadium (G) Sydney, Australia
1978
United States
4–1 Great Britain Mission Hills CC (H) Rancho Mirage, United States
1979
United States
5–0 Italy Civic Auditorium (ICp) San Francisco, United States
1980
Czechoslovakia
4–1 Italy Sportovní Hala (ICp) Prague, Czechoslovakia
1981
United States
3–1 Argentina Riverfront Coliseum (ICp) Cincinnati, United States
1982
United States
4–1* France Palais des Sports (IC) Grenoble, France
1983
Australia
3–2 Sweden Kooyong Stadium (G) Melbourne, Australia
1984
Sweden
4–1 United States Scandinavium (IC) Gothenburg, Sweden
1985
Sweden
3–2* West Germany Olympiahalle (ICp) Munich, West Germany
1986
Australia
3–2 Sweden Kooyong Stadium (G) Melbourne, Australia
1987
Sweden
5–0 India Scandinavium (IC) Gothenburg, Sweden
1988
West Germany
4–1* Sweden Scandinavium (IC) Gothenburg, Sweden
1989
West Germany
3–2 Sweden Schleyerhalle (ICp) Stuttgart, West Germany
1990
United States
3–2 Australia Suncoast Dome (IC) St. Petersburg, United States
1991
France
3–1 United States Palais des Sports de Gerland (ICp) Lyon, France
1992
United States
3–1 Switzerland Tarrant County Center (IH) Fort Worth, United States
1993
Germany
4–1 Australia Exhibition Hall (IC) Düsseldorf, Germany
1994
Sweden
4–1* Russia Olympic Stadium (ICp) Moscow, Russia
1995
United States
3–2* Russia Olympic Stadium (IC) Moscow, Russia
1996
France
3–2* Sweden Mässan Hall (IH) Malmö, Sweden
1997
Sweden
5–0 United States Scandinavium (ICp) Gothenburg, Sweden
1998
Sweden
4–1* Italy Forum (IC) Milan, Italy
1999
Australia
3–2* France Acropolis Exhibition Hall (IC) Nice, France
2000
Spain
3–1 Australia Palau Sant Jordi (IC) Barcelona, Spain
2001
France
3–2* Australia Rod Laver Arena (G) Melbourne, Australia
2002
Russia
3–2* France Palais Omnisports (IC) Paris, France
2003
Australia
3–1 Spain Rod Laver Arena (G) Melbourne, Australia
2004
Spain
3–2 United States Estadio de La Cartuja (IC) Seville, Spain
2005
Croatia
3–2* Slovakia Sibamac Arena (IH) Bratislava, Slovakia
2006
Russia
3–2 Argentina Olympic Stadium (IH) Moscow, Russia
2007
United States
4–1 Russia Memorial Coliseum (IH) Portland, United States
2008
Spain
3–1* Argentina Polideportivo Islas Malvinas (IH) Mar del Plata, Argentina
2009
Spain
5–0 Czech Republic Palau Sant Jordi (IC) Barcelona, Spain
2010
Serbia
3–2 France Belgrade Arena (IH) Belgrade, Serbia
2011
Spain
3–1 Argentina Estadio de La Cartuja (IC) Seville, Spain
2012
Czech Republic
3–2 Spain O2 Arena (IH) Prague, Czech Republic
2013
Czech Republic
3–2* Serbia Kombank Arena (IH) Belgrade, Serbia
2014
Switzerland
3–1* France Stade Pierre-Mauroy (IC) Lille, France
2015
Great Britain
3–1* Belgium Flanders Expo (IC) Ghent, Belgium
2016
Argentina
3–2* Croatia Arena Zagreb (IH) Zagreb, Croatia
2017
France
3–2 Belgium Stade Pierre-Mauroy (IH) Lille, France
Performance by team[edit]
Country
Wins
Last final won
Runners-up
Last final lost
United States
32 2007 29 2004
Australia
28 2003 19 2001
France
10 2017 8 2014
Great Britain
10 2015 8 1978
Sweden
7 1998 5 1996
Spain
5 2011 4 2012
Czech Republic
3 2013 2 2009
Germany
3 1993 2 1985
Russia
2 2006 3 2007
Italy
1 1976 6 1998
Argentina
1 2016 4 2011
Switzerland
1 2014 1 1992
Serbia
1 2010 1 2013
Croatia
1 2005 1 2016
South Africa
1 1974 0 &
—
Belgium
0 &
—
3 2017
India
0 &
—
3 1987
Romania
0 &
—
3 1972
Japan
0 &
—
1 1921
Mexico
0 &
—
1 1962
Chile
0 &
—
1 1976
Slovakia[f]
0 &
—
1 2005
Performance by continent[edit]
Davis Cup performance by continent
Continent
Wins
Runners-up
Europe
43 47
North America
32 30
Oceania
28 19
South America
1 5
Africa
1 0
Asia
0 4
References[edit]
^ Jump up to: a b c "Davis Cup History". Davis Cup. Retrieved 25 July 2016.
Jump up ^ "What a racquet: Britain's Davis Cup history". BBC. Retrieved 19 February 2016.
^ Jump up to: a b c "Davis Cup format". Davis Cup. Retrieved 19 February 2016.
Jump up ^ "Davis Cup Explained". Lawn Tennis Association. Retrieved 8 March 2016.
^ Jump up to: a b Newberry, Piers (29 November 2015). "Andy Murray wins the Davis Cup for Great Britain". BBC Sport. Retrieved 27 January 2016.
Jump up ^ Grasso, John (September 2011). "Davis Cup". Historical Dictionary of Tennis. Scarecrow Press. p. 79. Retrieved 8 December 2011.
Jump up ^ Schooler, Andy (3 March 2015). "Davis Cup: Player profiles and statistics ahead of this week's Great Britain v USA tie". Sky Sports. Retrieved 3 July 2016.
Jump up ^ "No Tennis Challenge; Americans Will Not Enter a Team for Davis Trophy Contest" (PDF). The New York Times. 8 March 1904. Retrieved 2 February 2011.
Jump up ^ "Lawn Tennis Championship. Australasia Wins The Davis Cup". Sydney Morning Herald. 25 July 1907. Retrieved 4 July 2016.
Jump up ^ "Only Four Nations Have Held The Davis Cup". The Sydney Morning Herald. 9 December 1951. Retrieved 31 August 2016.
Jump up ^ "Australia and the Davis Cup". Tennis Australia. Retrieved 3 July 2016.
Jump up ^ "Australasia 4–1 Great Britain". Davis Cup. Retrieved 4 July 2016.
Jump up ^ "U.S. loses Davis Cup held for 7 years". Chicago Tribune. 11 September 1927. Retrieved 4 July 2016.
Jump up ^ Davis, Dwight F. (23 May 1923). "Tennis being developed as International Game". The Harvard Crismon. Retrieved 20 March 2016.
Jump up ^ "France". Davis Cup. Retrieved 5 July 2016.
Jump up ^ "Tennis – Popular and international 1900s–1950s". Australian Government. Retrieved 5 July 2016.
Jump up ^ Riess, Steven A. (2015). Sports in America from Colonial Times to the Twenty-First Century: An Encyclopedia. Routledge. p. 781. ISBN 9781317459460.
Jump up ^ Clarey, Christopher (27 February 2016). "Davis Cup returns to a scene of its Grassy past". The New York Times. Retrieved 4 July 2016.
Jump up ^ "Australia". Davis Cup. Retrieved 5 July 2016.
Jump up ^ Seminara, Dave (28 November 2009). "The Year the Davis Cup felt empty". The New York Times. Retrieved 28 March 2016.
Jump up ^ Tignor, Steve (19 November 2014). "The Shots Not Heard Around The World". Tennis. Retrieved 28 March 2016.
Jump up ^ "West Germany wins title behind Becker-Jelen". Los Angeles Times. 18 December 1988. Retrieved 5 July 2016.
Jump up ^ Nasstrom, Stephan (18 December 1989). "Becker dominates Wilander, W. Germany keeps Davis Cup". The Washington Post. Retrieved 5 July 2016.
Jump up ^ "USA 3–2 Aus". Davis Cup. Retrieved 5 July 2016.
Jump up ^ Finn, Robin (2 December 1991). "A bubbly France drinks up Davis Cup". The New York Times. Retrieved 5 July 2016.
Jump up ^ "Sweden". Davis Cup. Retrieved 5 July 2016.
Jump up ^ "Philippoussis wins Davis Cup for Australia". BBC News. 5 December 1999. Retrieved 4 July 2016.
Jump up ^ "Spain wins first Davis Cup title". CBS News. 8 December 2000. Retrieved 4 July 2016.
Jump up ^ "France win Davis Cup". BBC Sport. 2 December 2001. Retrieved 4 July 2016.
Jump up ^ "Russia claim Davis Cup thriller". BBC Sport. 1 December 2002. Retrieved 4 July 2016.
Jump up ^ "1990: Teammates Agassi and Chang Propel United States in St. Pete". World Tennis Magazine. 30 November 2009. Retrieved 3 July 2016.
Jump up ^ Newman, Paul (2 December 2011). "Nadal lifted by golden memories of Seville". The Independent. Retrieved 3 July 2016.
Jump up ^ "Spain". Davis Cup. Retrieved 3 July 2016.
Jump up ^ "Davis Cup final: Czech Republic edge out Serbia". BBC Sport. 17 November 2013. Retrieved 3 July 2016.
Jump up ^ "Davis Cup final: Roger Federer dedicates win to his team-mates". BBC Sport. 23 November 2014. Retrieved 3 July 2016.
Jump up ^ "Davis Cup champions". Davis Cup. Retrieved 29 January 2016.
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List of champions
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