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 different types of which means. The participants examine choruses as fictional, non secular and civic performers; as mixtures 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 past 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 varied analytic instruments in permitting us larger to trap the specificity of the tragic refrain. unique 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 house within the odes.
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Extra info for Choral Mediations in Greek Tragedy
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. The parallel, often radically different experiments of comedy with the dramatic chorus offer indispensable points of reference for considering the distinctive nature of the tragic experience.
Independently of the civic role played by the choreutai as both Athenian citizens and singers ritually honouring Dionysos Eleuthereus, the social and sexual identity of the choral group implied in the dramatic action is a complex one; as we will see, it has a decisive impact on the authority of the tragic choral voice, on its semantic, enunciative and musical polyphony. 7 He proposed interpreting 4 5 6 7 A` propos my own enunciative position in this chorus of scholars, I would like to quote my address for the inaugural paper at the conference at Northwestern University and to thank the brilliant organizers of the event which led to the present volume, Marianne Hopman and Renaud Gagn´e: my role as a kind of korufa±ov was required by the formal exercise of this ‘keynote address’ but all the colleagues quoted in the first part of the present chapter have to be considered as sug-coreuta©.
The three following chapters explore facets of three particularly significant moments in this respect: German Idealism, Victorian choreography, and contemporary American performance arts. In ‘Choral dialectics: H¨olderlin and Hegel’, Jo s h u a Bi l l i n g s looks at how German thinkers from the end of the eighteenth century and the beginning of the nineteenth completely transformed the modern understanding of the ancient Greek chorus, laying the foundations for all further reflection on the specificity of the chorus and its ability to mediate between different levels of reference.
Choral Mediations in Greek Tragedy by Renaud Gagné, Marianne Hopman