The Theatricality of Greek Tragedy
Playing Space and Chorus
Drawing on evidence from the surviving texts of tragedies by Aeschylus, Sophocles, and Euripides, Ley explains how scenes with actors were played in the open ground of the orchestra, often considered as exclusively the dancing place of the chorus. In reviewing what is known of the music and dance of Greek antiquity, Ley goes on to show that in the original productions the experience of the chorus—expressed in song and dance and in interaction with the characters—remained a vital characteristic in the performance of tragedy.
Combining detailed analysis with broader reflections about the nature of ancient Greek tragedy as an art form, this volume—supplemented with a series of illustrative drawings and diagrams—will be a necessary addition to the bookshelf of anyone interested in literature, theater, or classical studies.
“An original and effective study of an important subject. Graham Ley explains what needs to be explained and makes clear where his interpretations break new ground.”—Pat Easterling, Newnham College, University of Cambridge
“Graham Ley investigates with a fresh eye and marked originality. His first chapter alone will change many contemporary assumptions about how ancient Greek tragedy was first performed, and his accompanying diagrams of possible staging will contribute to this important reassessment.”—Nicholas Rudall, University of Chicago
“This book is an authoritative examination of the evidence for the two most important performance aspects of ancient Greek tragedy—the playing space and the chorus. The exegesis is thorough, and the author’s new suggestions are significant and valuable.”—Michael Ewans, University of Newcastle
Scope of the Book
Rationale for the Diagrams and Drawings
Further Comments and Acknowledgments
1 the playing space
The Scripts and the Playing Space
The Surviving Tragedies of Aeschylus and Early Tragic Performance
Choros, Actors/Characters, and Playing Space in the Earlier Tragedies of Aeschylus
Persians
Suppliants
Seven against Thebes
Composition for the Playing Space in Aeschylus’s Oresteia
Agamemnon
Libation Bearers
Eumenides
Realizing the Tragic Playing Space after Aeschylus
Altars and Tombs in the Playing Space after Aeschylus
Performers and Vehicles in the Playing Space
Three Kinds of Vocal Delivery in Tragedy
Movement and Dancing in the Playing Space
Actors/Characters and Choros: Chanting, Singing and Dancing in the Playing Space
Appendix A: Chronology of the Surviving Plays
2 the chorus
The Choros in Epic
Composition for the Choros
Music: Meter or Measure, Melody, and Mode
Meter Melody and Modes
Dancing
Strophe, Antistrophe, and Choreia
Dithyrambs
The Theatrical Choroi: Definitions and Distinctions
Appendix B: Time Line for Chapter Two
Conclusion
References
Index
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