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This quantity explores how the choruses of historic Greek tragedy creatively mixed media and discourses to generate their very own particular sorts of that means. The members examine choruses as fictional, spiritual and civic performers; as mixtures of textual content, music and dance; and as gadgets of mirrored image in themselves, in relation and distinction to the choruses of comedy and melic poetry. Drawing on prior analyses of the social context of Greek drama, the non-textual dimensions of tragedy, and the family members among dramatic and melic choruses, the chapters discover the makes use of of varied analytic instruments in permitting us higher to trap the specificity of the tragic refrain. designated 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 house within the odes.

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Extra info for Choral Mediations in Greek Tragedy

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As a result, the volume offers a wide range of original contributions looking together at the tragic chorus as a highly specific, complex, and metamorphic medium. Apart from the last three chapters, all dates are bce unless otherwise indicated. All Greek is translated. 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.

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. 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 idea that Athenian audiences experienced the dramatic contests as choral performances has played an important role in recent discussions of tragic and comic choruses. ) to dramatic choruses as well. Starting with Calame’s Choeurs de jeunes filles, a number of studies informed by anthropology and pragmatic linguistics have shown that in archaic and classical Greece, song-and-dance ensembles of maidens, men, or women were fundamentally social and civic events integral to an 61 63 62 Nagy 1994/5b; Calame 1999; Kowalzig 2004.

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