The paper describes the role of the chorus in ancient Greek theater. It talks about the origin of the chorus and theater and how the chorus worked in the Euripides's "Hippolytus". The paper also focuses on the effect Greek theater had on modern theater.
Abstract This paper tells what the chorus brought to Greek theater and how theater was shaped because of it. The paper discusses this topic while examining one of the most famous Greek play, "Hippolytus," by Euripides. The chorus was a crucial part of theater during that time and was used to narrate the story, give their opinion of the plot, and keep a rhythm for the play. The chorus did this in various ways, such as through costumes, stage presence, music, and singing. The Greek chorus was a precursor to operas and musicals as we know them today, and the paper discusses this evolution of the chorus.
From the Paper "The chorus is essential to ancient Greek drama, and the plays at that time were greatly dependent on song and dance which the chorus performed (Ley 28). It accompanied the actors with sounds, gestures, postures, costumes, masks etc, and these flowing actions and stage elements brought the play to life. The various roles of the chorus are to narrate, give their opinions and keep the rhythm of the play. They do this through singing, movement, and stage presence. The ancient Greek theater is also important because it was the precursor to operas and musicals as we know them today. This paper will discuss the importance of the chorus' roles on the Greek stage by examining Euripides' Hippolytus and also how it influenced modern theater. To fully understand the reason for the chorus it is necessary to know the history."
Abstract This paper looks at the Chorus in early Greek theater, in Sophocles? "Oedipus the King", and later in Shakespeare's "Romeo and Juliet". The author discusses the reasons for a chorus in a play, how it bridges scenes, clarifies the plot for the audience, etc. The paper also looks at the use of the chorus in modern literature: in Warren Leight's play, "Side Man".
From the Paper "Approximately six hundred years before the birth of Christ, theater was born in ancient Greece. Usually based primarily on mythology, history, or a mixture of both, the plays produced in these early theaters are what are now known as the classic tragedies and comedies. Many of these plays were performed in open, outdoor spaces, and most of these arrangements allowed for only a limited number of actors to appear onstage simultaneously. The ancient Greeks of this era were highly innovative in both their ideas and the execution of these ideas; therefore they solved this problem of space by introducing to the theater what is known as the chorus."
Abstract This paper explains how the chorus in the plays, "Medea" and "Agamemnon", enhance the audience's experience as they watch the plays and contemplate their opinions of the actual character and the character as reflected by the chorus.
From the Paper "Euripides play, Medea, has created astonishing results since the time it was written, 2400 years back and was first performed in 431 BC. The play originates from the ancient myths of Jason and Medea, while it, "investigates the psychology of revenge and betrayal".( Euripides? Medea "ICFI", reviewed by: Stephen Griffiths http://www.wsws.org/arts/1998/aug1998/med-a04.shtml ). Euripide, though a male writer has been able to view a females? mind emerging with power and great intensity. He was the first Athenian to use the chorus as a commentator, in order to interpret human sufferings without the wisdoms of the gods. Parallel to Medea, Aeschylus? Agamemnon narrates a similar myth of Agamemnon and his queen, Clytemnestra in a play, which was written in Greek in the fifth century B.C. Aeschylus was known to be the first playwright and the father of Western Drama."
Abstract This paper looks at the Chorus in Sophocles' "King Oedipus", which is a timeless force that serves many fundamental dramatic purposes in the tragedy. It explores how their interjections into the dialogue are directed at clarifying the significance of events and affirming the outlook of a conventional society, to which an audience can relate. It also examines how they effectively separate the different episodes in the theatrical sequence, imitating the overriding public mood in their verse and how most importantly, is the Chorus? contribution to the dramatic irony of the play through their boundless praise of the King, who causes his Kingdom's affliction.
From the Paper "Aristotle maintained that the Chorus should be handled "as one of the actors" and ?contribute to the performance.? The Chorus of "Theban elders" in Oedipus Rex are functional because they point out the significance of the dramatic events as they occur, and Aristotle asserts that "tragedy is an imitation of an action" which takes priority over character. The Chorus are the nucleus from which the tragedy evolves, heightening the dramatic irony of Oedipus? hamartia. The first section of the play ends with the unassuming Oedipus? resolution to expose and punish the polluter of Thebes, presenting the appropriate motivation for the first appearance of the Chorus."
Abstract This paper discusses how in Sophocles' "Oedipus the King" the Chorus is absolutely essential to the play since it is like a narrator to a third person limited omniscient novel. It looks at how the Chorus provides a background for the audience that cannot be derived from dialogue and how it allows time passage to occur. The paper also examines how it gives the play depth, presents irony, and more fully develops the plot and characters from a non-biased point of view typical of the audience the work was originally written for.
From the Paper "Just like the narrator in a good novel fills the reader in on what has happened, the chorus provides background for the audience in its odes. Without this background information the audience would be bewildered and could not follow the plot line. For example, the Theban plague is important because it is the driving force behind the pursuit of the murderer, "Wasted thus by death on death / All our city perisheth. / Corpses spread infection round; / None to tend or mourn is found. / Wailing on the altar stair / Wives and grandams rend the air-- / Long-drawn moans and piercing cries / Blent with prayers and litanies" (Oedipus the King ). The chorus clearly provides insight on how realistic and savage the Theban plague is, so there is no mistaking the city's predicament."
Abstract The paper discusses Hiromi Goto's book, "Chorus of Mushrooms" that focuses on three generations of women; the eighty year old Naoe, her daughter Keiko and the granddaughter Muriel and their subjective view points on immigration. The paper explores the different positions taken by grandmother, daughter and granddaughter in relating to and accepting the new territories, cultures, language and people. The paper highlights how the subjectivism of the novel takes the immigration phenomenon out of its demographic and political context to look at it through the eyes of those leaving their homes.
From the Paper "Five year old Naoe and her family were forced out of their home and thrown into the world in search of a new life. The need for a new life has taken Naoe to numerous towns, cities and even countries, eventually leading her to Canada at the age of sixty. The immigration motif is relevant to the Chorus of Mushrooms as it portrays the elements that define a large part of the population. Just as Naoe, most immigrants leave their houses with the hope of finding a better life. Some find it, while others don't. But what unites this large mass of immigrants is their constant longing for the places and the people they left behind, for the things they grew up with and for the things that first gave meaning to the word home."
Abstract This paper explains that the roles of the Greek Chorus in Sophocles' "Antigone" are its technical functions as the logical division of the play into sequential parts and as the representation of the characters and the Chorus' own role as an autonomous entity in the plot of the play. The author explains that the Chorus as a character in the play appears as a single entity, thus using the first person singular body, "I", and acts as a lyrical commentator. The paper relates that the Chorus creates the connection between Sophocles' "Oedipus Rex" and "Antigone".
From the Paper "The typical technical characteristics of the Greek Chorus are generally maintained in Antigone. The Chorus sings as it enters onto the stage--the parodos--shortly after the first scene and unfolds the exposition of the play, i.e., the events that took place before the time of the play itself. In the exposition of Antigone [704-706, lines 117-179], the Chorus tells us about the great war of "the seven against Thebes" and, by that, provides the missing details such as the cause of death of Antigone's brother, the general atmosphere in the city (the aftermath), and the reasons that back and nourish Creon's unquestionable leadership as well as his blasphemous acts."
Abstract This drama study examines the theme of fate within the context of a character analysis of Teiresias and the Chorus within the play 'Oedipus Rex' by Sophocles.According to this paper, the oracle and the truthful words of Teiresias set an irreversible sense of doom for Oedipus and Creon, as the Chorus tells the will of the Oracle of Oedipus the King. The paper follows by revealing the textual source of the prophesying that Teiresias portends for King Oedipus, making it clear that he plays a secondary, yet very important role in this tragedy as a loyal messenger of the Oracle.
Abstract This paper examines the historical evolution and maturation of tragedy in ancient Greece, and the characteristics of a tragic hero. The author focuses on one of the most famous Greek tragedies, Oedipus Rex, and greatly details the story of Oedipus and his tragic flaws. The paper also discusses all elements in an ancient Greek production, such as the prologue, chorus, and exodus.
From the Paper "Oedipus Rex is a story of one man's pursuit for truth. Although Oedipus falls victim to obstacles he is unable to overcome, he encounters these obstacles along his journey to find the truth. In the view of Sophocles, the tragic hero must accept the responsibility for his actions, as does Oedipus in the final scene, regardless of his original motives and inability to control or understand the forces in which rule his life. The plot, Oedipus? search for truth, and the chorus are all contributing factors that make Oedipus Rex the greatest in the history of all Greek tragedies."
Abstract This paper examines the story of "Don Giovanni," a morality tale of what occurs when a man does wrong and evil is punished, told through Mozart's opera of the same name. When the Don's castle is in ruins, the surviving revelers weave in and out of the ruins and sing ?such is the fate of a wrong doer.? It discusses how the contrast of irony and melodrama in the final scene, suggests a far more nuanced moral vision of Mozart in his opera. It describes how at the end, as the Don is engulfed by flames, the music sweeps up into a more religious, reverent tone and the chorus takes over, rather than individual voices. Although this is supposed to be pious and the Don only gets what he deserves, there is a sense of loss at very end.
From the Paper "The scene being referenced is, of course, the ending deus ex machina of the opera, where the murdered father of a woman Don Giovanni has raped, the Commendatore, comes back from the dead in the form of a living, breathing, animated statue. The depiction of this phenomenon is alone a theatrical marvel and a challenge in and of itself. However, the Don's apparent casualness in the face of this event makes the striking nature of the Commendatore, even more astonishing. When the statute, who was unwillingly invited by the Don's surprised servant Lepordello to the Don's banquet, arrives, he pounds on the door of the Don's castle with great clashing blows, an entrance that is underscored by ominous music. He solemnly informs the Don that his time has come."
Tags: castle, rape, statue, commendatore, chorus, music
Abstract There are known problems that are inherent in the management of a high school choral department. Most particularly, the mixed choir due to the status of the "changing voice" of the male adolescent as well as the perception experienced by adolescent males that they may not be "rough enough" and tend to pull back from membership wherein they perceive themselves in view of what others have to say about their membership in the chorus. There are also problems in uniting the group and attainment of the necessary cohesion for excellent performance within the learning environment. This paper examines some of the issues facing the high school choral teacher and briefly examines some of the methods being utilized by teachers in this high school chorus setting to enhance learning.
Table of Contents
Statement of Thesis
Introduction
I. The Methodological Approach
II. Traditional Techniques
III. Tone, Pitch and Sight-reading
Conclusion
From the Paper "In conclusion, theory, technique and performance are all an integral part of teaching music that is not "optional" but are indeed "elemental" in music education. Necessary integration of the male and female gender adolescents must be the focus as well as an environment that is conducive to learning as well as being one that provides a "positive educational experience" for the student. The provision of a positive learning experience is of great value and promises to be successful if implemented and nurtured within a system of education. To accomplish this is requires a networking system among teachers, schools and staff who will all work "as though one" in coordination focused on the preparation of a positive learning base. Beginning with the preschool and carrying the students best interest as priority until commencement of graduation, this method will demand open communication and dedication."
Abstract The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper "The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
Abstract This paper looks at the film "The Spirit of the Beehive" by analyzing its use of Frankenstein as an opening to the film and subsequent scenes and how this effects the viewers and the characters in the main film. It also looks at this specific tool of "a film within a film".
From the Paper Victor Erice's film The Spirit of the Beehive, presents the audience with images of the film Frankenstein. The introduction of Frankenstein serves two purposes in the film. First, the film Frankenstein acts as a Greek chorus in the movie. The film within a film directs attention and comments on action. Secondly, the film Frankenstein introduces a monster that is a symbolic representation of Franco.
Abstract The paper analyzes "Ode to St. Cecilia's Day", a poem written by John Dryden which celebrates the feast-day of Saint Cecilia on November 22, as well as the majesty of music. The paper shows that music is a heavenly treat that leads to celestial harmony and the mystery of music is clarified through Dryden's use of metaphor and personification. The paper discusses how in different stanzas, Dryden lends various instruments individual qualities according to their particular sounds. It shows how these instruments become metaphors for human passions and for the wonders of nature.
From the Paper "Throughout the ?Ode to St. Cecilia's Day,? John Dryden personifies music in general and instruments in particular. From the second to the sixth stanza, Dryden outlines the specific qualities of certain instruments. Stanza 2 is devoted to Jubal's corded shell. Alluding to the biblical character of Jubal, Dryden further exemplifies the divine nature of music. The corded shell ?spoke so sweetly and so well,? (line 23). The music that emanates from Jubal's shell has the power to "raise and quell" any human passion (line 24). Because the poet chooses verbs regularly delegated to the realm of human experience, music becomes anthropomorphised. Furthermore, because these verbs tend to be uplifting in nature, music becomes deified."
Abstract The paper examines the novel "Gravity Rainbow" by contemporary American author, Thomas Pynchon, which fictionalizes a theater-going experience. The paper discusses Pynchon's use of musical elements in his novel and the way they are interspersed in the storyline. Finally, it examines the possibility of creating a screenplay based on "Gravity Rainbow" and shows why such a move would not be successful.
From the Paper "There are a few new variables that come into play if the reader is to take the theater references seriously. The foremost one is the introduction of anew perspective, anew point of view: the audience. In previous works, Pynchon has always tried to play to the masses. He allows for multiple impressions and ideas, and pays lip service to as many as feasible. In The Crying of Lot 49, for instance, a reader can pursue a the story from several individual angles only to arrive at one conclusion: that the answer is being held just beyond the last page. In Gravity's Rainbow, Pynchon continues to play these mind games with the reader by handing them multiple impressions over various characters and situations in the form of multiple narrative voices, interspersing the thoughts of several character in the mainstream of one dominant voice. This is most prevalent in the first chapter, where most of the characters are introduced. The readers' perceptions are colored from the onset of the story. Naturally, most of the theatrical references are scattered in this section. Everything slides into place for chapter two, the credits are over, and the movie rolls."
