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 varieties of which means. The members examine choruses as fictional, spiritual 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 previous analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the relatives among dramatic and melic choruses, the chapters discover the makes use of of assorted analytic instruments in permitting us greater to catch the specificity of the tragic refrain. particular consciousness 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
G. Zimmermann 1992 on the dithyramb; Rutherford 2001 on paeans; Kowalzig 2007b, etc. g. Kaimio 1970, Burton 1980), but that these earlier works study the odes from a literary viewpoint, independently from other choral genres. 20 Renaud Gagn´e and Marianne Govers Hopman the theatrical space in Athens. 123) of a wooden stage rising above the orchestra level in front of the sk¯en¯e applies to Neronian rather than classical theatre. In fifth-century Athens, actors evolved in the same performing space as the dancing chorus.
Generally speaking the tragic chorus as a protagonist invited to sunagwn©zesqai (to speak with Aristotle)1 has a status which leads it to interact with the actors of the heroic and dramatic action: the choral group is integrated in the time and space of the plot, of the mythos (still in the Aristotelian meaning of the word) enacted in front of the sk¯en¯e. This is its dramatic mediation. But the choreutai are also Athenian; they are chorally educated citizens, singing in Greek in fifth-century Athens.
This is probably not a real surprise, but it does mean that the poetics enable the tragic poet, in the creative moment, to imagine the gendered perspective corresponding to the social identity of a female group. In a book published in the same year as the essay just mentioned, the author pointed out not only the position of the chorus in the dramatic action, but also its identity as a performer at a civic festival and as a representative of the city at the ritual level. Rightly refusing the idea of the ‘otherness’ of the tragic chorus, she assumes the variability of the identity and authority of the tragic choral group.