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 kinds of which means. The individuals examine choruses as fictional, spiritual 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 previous 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 assorted analytic instruments in permitting us larger to seize the specificity of the tragic refrain. specified cognizance 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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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 participants examine choruses as fictional, non secular and civic performers; as mixtures of textual content, tune and dance; and as items of mirrored image in themselves, in relation and distinction to the choruses of comedy and melic poetry.
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Proper names are mostly spelled following standard English practice, and transliterations are internally coherent within each chapter. Abbreviations follow the standard conventions of the Oxford Classical Dictionary and the Ann´ee philologique. chapter 2 Choral polyphony and the ritual functions of tragic songs Claude Calame In this past decade, the role of the choral group in classical Attic tragedy has often been addressed in terms of identity – social identity. With regard to the status of the choral group as an actor, as well as to its spatial position, this role can be interpreted through the general and instrumental concept of ‘mediation’ understood as intermediary between different levels of reference; and, as far as the power of the choral voice as medium in a process of (musical) communication is concerned, it can be made more precise through the particular and instrumental concept of ‘intermediality’.
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. Drama physically happened as an extension of a choral dance. Approaches sensitive to the staging of Athenian drama have further emphasised the sheer theatrical power of the chorus performance, with its distinctive intermedial combination of music, singing, and dancing. The specifics of choral dancing are irretrievably lost to us.
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.