By Renaud Gagné, Marianne Hopman
This quantity explores how the choruses of old Greek tragedy creatively mixed media and discourses to generate their very own particular types of that means. The members examine choruses as fictional, non secular and civic performers; as mixtures of textual content, track and dance; and as gadgets of mirrored image in themselves, in relation and distinction to the choruses of comedy and melic poetry. Drawing on previous analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the kin 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. specific realization is given to the physicality of choral dancing, musical interactions among choruses and actors, the trajectories of reception, and the remedy of time and area within the odes.
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Extra info for Choral Mediations in Greek Tragedy
In an article originally published in 1969 and reprinted in the 1972 Mythe et trag´edie en Gr`ece ancienne, co-authored with Pierre Vidal-Naquet, JeanPierre Vernant suggested that the chorus stands as a representative of the city on stage. 70 His highly influential model was later taken up notably by Oddone Longo, who speaks of the chorus as a representative for the collective citizen body, 69 70 Henrichs 1994/5. Other important works that rely on the double identity, ritual and fictional, of dramatic choruses include Calame 1999 and Bierl 2009 .
Operating on a teleological rather than genetic logic, Aristotle identifies as the ‘proper nature’ (fÅsin) of tragedy the state that it reached after a number of developments rather than its original features. Yet Aristotle still tells us a story according to which tragedy and comedy originated in choral dances to which actors were gradually added. His statement is corroborated by the extant scripts: most of Aeschylus’ plays seem to require only two actors, but his last extant production, the Oresteia, requires three.
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. Furthermore, tragic plots often put the multi-layered identity of the chorus to various uses by casting the protagonist as a displaced chorus leader who may alternatively be separated from or reintegrated into the choral group or even fully take on the role of chor¯egos.
Choral Mediations in Greek Tragedy by Renaud Gagné, Marianne Hopman