Choral Mediations in Greek Tragedy by Renaud Gagné, Marianne Hopman

By Renaud Gagné, Marianne Hopman

This quantity explores how the choruses of historic Greek tragedy creatively mixed media and discourses to generate their very own particular sorts of which means. The participants examine choruses as fictional, non secular and civic performers; as mixtures of textual content, music 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 kinfolk among dramatic and melic choruses, the chapters discover the makes use of of varied analytic instruments in permitting us larger to trap the specificity of the tragic refrain. distinct awareness 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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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. The specificity of tragic choral mediation can be understood much more sharply against the background of other non-tragic forms of choral mediation, both diachronically and synchronically. The lyric antecedents of the tragic chorus present us with particularly significant elements of comparison, contrast, and insights about the genesis of tragic chorality.

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.

Pickard-Cambridge 1968: 57–70; Goldhill 1990. Vernant and Vidal-Naquet 1988 [1972]; Griffith 1995. For a different view, which downplays the democratic setting of the plays, see Rhodes 2003. On the thorny issue of the presence of women at the Athenian dramatic festivals, see Henderson 1991; Goldhill 1994; Hughes 2008. Winkler and Zeitlin 1990. See Scattolin 2011. On the idea that the confusions in the modern debate about the tragic chorus partly at least are a legacy of Aristotle, see Halliwell 1998 [1986]: 251–2.

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