individuals. The chorus consists of a group of Theban elders‚ and they serve as the voice of the people. These men are considered the wisest in all of Thebes. “Their attitude to what is going on is always shaped by their responsibilities and special interest of their position” (Kirkwood 3). The chorus is not attached to any one character specifically; it reacts to its own thoughts and emotions (3). The chorus is often used to create breaks in the scenes of plays‚ but in Antigone‚ the chorus serves a greater
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Valerie S Watson Humanities 101 May 16‚ 2013 W. A. The Walls of Thebes The Walls of Thebes 1. The significance of The Walls of Thebes is some twenty-five hundred years later Bertolt Brecht‚ a refugee in Denmark‚ wrote a poem which began‚ “Wer baute das siebentorige Theben?” Who built seven-gated Thebes? In the books stand and recorded the names of Kings. The Kings haul the broken rock. It was of course the working class that built Thebes. Euripides+Hermes would give the job to Zethus the practical
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Role of the Chorus The Chorus is a group of actors that speak‚ sing‚ and dance together. The Chorus is part of a ritual theme in Greek tragedy plays. In each play the Chorus many functions‚ and sometimes can have similar roles as other choruses in other plays. Specifically in the Bacchae‚ a play by Euripides and in Oedipus the King by Sophocles‚ the Chorus were an important part of the play and had different functions. In the Bacchae‚ the Chorus’ was more reserved an not so involved but their main
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The Chorus of Antigone The chorus was not only a major part of Antigone‚ but also the most insightful portion of this play’s cast. The members of the chorus tell Creon and the audience very important truths about themselves. Throughout the play the chorus comments on Creon’s actions‚ and gives us all unbiased views on our hypocritical species. Without a chorus Creon’s epiphany may never have occurred and we wouldn’t have‚ as easily‚ seen our personal flaws. The chorus is included in a very
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problem in this play‚ she wants to go against Creon’s orders which declared that Polynices body may not be given a proper burial for helping the forces which invaded Thebes‚ but Antigone knowing this insists on giving him a proper burial nevertheless. She felt that she was right‚ and the Creon laws had no right to decide who does and who doesn’t have the right to a proper burial. Polynices fought because he was following his morals. For some reason‚ he was in favor with the other side Continuing on
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__________________________ Eteocles: ______________________________ Oedipus: Father of Antigone‚ Ismene‚ Polynices Jocasta: _______________________________ and Eteocles; son and husband to Jocasta Prologue [In Thebes‚ directly in front of the royal palace‚ which stands in the background‚ its main doors facing the audience. Enter Antigone leading Ismene away from the palace] ANTIGONE Now‚ dear Ismene‚ my own blood sister‚ do you
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Introduction: In Greek plays‚ the chorus invariably adds complexity and depth to the play and the message it is trying to portray. However to say that the chorus hinders or impedes our understanding of the play is a grievous inaccuracy. Just because an element adds to the complexity of the play‚ it does not necessarily mean that it would detract the audience’s understanding of the play. In this instance the opposite in true of the chorus. The role of chorus as shown in Sophocles’ Oedipus King the
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The voice of the Chorus in Otello Even though he wanted to have an opera with no chorus‚ later on‚ Verdi himself considered this idea ‘crazy’. We would have not missed much of the plot without a chorus‚ but we would have definitely missed much of the artistic colour. There are four main Chorus parts in Otello‚ but there are also a few incidental entries. When writing the opera‚ Verdi had in mind the singers from La Scala‚ in Milan. The Chorus numbered 104 voices – 64 men and 40 women‚ to which
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THE CHORUS In choosing the classical form of tragedy for his Samson Agonistes‚ Milton decided to work on a distinctively unpopular medium. For‚ classically modelled tragedy had never been popular in England. Even Ben Jonson‚ excused himself for not obeying the Aristotelian rules and not having a proper chorus in his Sejanus. But with his contempt for mere popularity‚ Milton did not feel obliged to modify the form of classical tragedy to suit the purpose of what Jonson called “popular delight”. J
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The chorus‚ in tragic plays of ancient Greece‚ is assumed to have developed out of Greek hymns and drama. It presented experience and also abstract information to help the audience pursue the performance‚ commented on main themes‚ and demonstrate how a model audience might respond to the tragedy as it was presented. Greek choirs also stood for the common public of any specific story. Most of the time they communicated in song form‚ but every now and then the messages were spoken. The chorus also
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