THE GREEK CHORUS’ SMALL PLACE IN HISTORY The history of the Greek Chorus can be traced back to a relatively small time period; from the original Dithyrambs‚ to Thespis’ small‚ but revolutionizing changes to the system‚ to Aeschylus’ triple entente of tragedies The Oresteia‚ which included the infamous Agamemnon. To truly understand the Greek Chorus‚ and what role it was meant to play when it was created and thereafter altered‚ one has to go back to the beginning of time which in this case happens
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A chorus in a Greek tragedy is fundamental however in modern plays it is no longer a crucial element. The chorus consists of a small group of people‚ usually between twelve and fifteen‚ who account the events of the play‚ and foreshadow its development. They are meant to act as a character but are positioned away from the main action. As a character‚ the chorus has many functions; it interacts with other characters‚ and gives its opinion on the situations without regard to the chance of their opinion
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the Chorus in Medea An important element in ancient Greek tragedies is the chorus‚ a near constant presence that typically played little to no role in the events that take place in the plays. In Medea‚ this idea stands true. The Chorus in Medea consists of Corinthian women‚ who mostly just lament the horrific things that are happening throughout the play. Euripides‚ the creator of the tragedy‚ seems to use the Chorus as an outside perspective‚ using them to illustrate his themes. The Chorus seems
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marrying another woman and abandoning her. Like most Greek plays‚ the chorus is used to guide the audience’s opinions and feelings. Euripides uses the chorus to influence the audience’s the perception and sympathy of Medea throughout the play. In the play‚ the chorus‚ consisting of a group of Corinthian women‚ originally supports Medea’s desire for revenge‚ but its view changes as the play progresses. At the beginning of the play‚ the chorus supports Medea due to the unequal treatment of women in society
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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 have any sense of all the troubles Zeus keeps bringing on the two of us‚ as long as we’re alive? All that misery which stems from Oedipus? There’s no suffering‚ no shame‚ no ruin—not one dishonour— which I have not seen
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Chao Yao Music 1100-005 Messiah--Hallelujah: This music was composed by George Frederic Handel in 1741‚ and the scriptural text was compiled by Charles Jenney in English. Handel (1685-1759) was one of the music giants in the Baroque time. He mainly lived in England and was famous for his compositions of Italian operas‚ especially for oratorios. Messiah was his sixth work of oratorio. Although its structure resembles that of conventional opera‚ it is not in dramatic form; there are no impersonations
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believed that someone‚ the Messiah (“the Hebrew word ‘Messiah’ means an anointed person or thing” )‚ would come and be their king and take them away from Roman rule and‚ as a result‚ bring Israel together. One of the many verses that the Jewish were basing their expectations of the messiah on was‚ “your house and your kingdom shall be made sure for ever before me; your throne shall be established for ever.” (2 Samuel 7:16). This can give the impression that a king would be sent from God who was like David:
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Intertestamental Messiah During the intertestamental period between Malachi and Matthew‚ another view of the Messiah began to circulate. The view‚ originating from the Qumran writings and their religious leader’s interpretation of the Old Testament‚ describe the Messiah as a warrior‚ a political and militant leader with the goal of destroying Israel’s enemy and the restoration of the Davidic Kingdom. This goal was established according to God’s own design‚ as the Messiah fulfilled his role as king
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1983). There are‚ however‚ important differences between a naked body in a static pose and moving on stage. The view of a naked body in a painting‚ a sculpture or a tableau vivant provides information about both the surface and the threedimensional form of the body. The view of a naked body in movement‚ however‚ may reveal both the differing resistance of the body’s superficial layers to changes in posture and the existence of bones and organs deeper inside it. This is probably why a moving body in
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The Chorus influences our response to Medea and her actions in both a positive and negative manner. The Chorus‚ a body of approximately fifteen Corinthian women who associate the audience with the actors‚ is able to persuade and govern us indirectly through sympathy for what has been done to Medea‚ a princess of Colchis and the victim of her husband’s betrayal of love for another woman. The Chorus also lead us to through sympathy for Medea to accept her decision of taking revenge on princess Glauce
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