This quantity explores how the choruses of old Greek tragedy creatively mixed media and discourses to generate their very own particular kinds of which means. The individuals examine choruses as fictional, non secular and civic performers; as combos of textual content, track and dance; and as items of mirrored image in themselves, in relation and distinction to the choruses of comedy and melic poetry. Drawing on past analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the family among dramatic and melic choruses, the chapters discover the makes use of of varied analytic instruments in permitting us higher to seize the specificity of the tragic refrain. exact recognition is given to the physicality of choral dancing, musical interactions among choruses and actors, the trajectories of reception, and the therapy of time and house within the odes.
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Additional resources for Choral Mediations in Greek Tragedy
76 Gould 2001 ; Foley 2003. Calame 2005a: 118–31. Introduction: the chorus in the middle 27 At the core of the Vernant vs Gould debate are fundamental questions about the authority of the choral voice and the possibility that the Athenian audience identified with the collective on stage. 77 Rather, the chorus of a given play may have the potential to shift in register between its privileged function of choros as a ritual and civic institution, and the specific character that the group embodies in the play.
Euripides’ multiplication of choral references and projections, whereby the chorus simultaneously impersonates a group of Dionysos’ followers and Theban women who previously resisted the god, both demonstrates and enacts the presence of the proteiform god Dionysos. The medium of the performance coincides with its message. Put together, these case studies suggest among other things that choral polyvalence provides tragedy with a means to reflect upon Athenian practices and concepts. The multi-layering of the choral voice may bridge Introduction: the chorus in the middle 31 over traditional dichotomies or conversely expose internal contradictions within important civic concepts.
Ar. Knights 513) from the city represented by the Archon, who ‘gave it’ (cor¼n did»nai, cf. Arist. Poet. 1449b; Kratinos fr. 17 K–A; Pl. Rep. 383c). Thus a playwright’s opportunity to put on a play was synonymous with and depended on his ability to secure a chorus from the polis. 58 Unlike actordriven contemporary shows, the logistics of Athenian drama emphasised the chorus’ role in a given production and largely credited it for its eventual success. Genetic arguments about the origins of Athenian drama occupy a distinctive position in the scholarly reevaluation of tragedy and comedy as choral genres.
Choral Mediations in Greek Tragedy