The Theatricality of Greek Tragedy: Playing Space and Chorus

by Graham Ley

Ancient Greek tragedy has been an inspiration to Western culture, but the way it was first performed has long remained in question. In The Theatricality of Greek Tragedy , Graham Ley provides an illuminating discussion of key issues relating to the use of the playing space and the nature of the chorus, offering a distinctive impression of the performance of Greek tragedy in the fifth century BCE. 

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.

240 pages, Hardcover

First published January 1, 2007

Reviews

[Dale Boyer · Rating 3 out of 5]

It's interesting to read this book after having just read A. P. David' brilliant The Dance of the Muses, in which he radically and persuasively reimagines Greek drama to be - always - a ritualistic combination of song and dance generated via movement of the chorus. Graham Ley's study is an attempt to figure out how the space of the stage was actually used, and while he corroborates (unwittingly, apparently: it seems he is writing before and, therefore unaware of, David's work) that conclusion, his is a much more tentative work. He does offer an interesting synthesis of much of the previous work, especially regarding the actual nature of the melodies and dance steps used, and also makes reference to a tantalizing theory that participation in the various pageants was a rite of passage for the various Athenian youths akin to state service or a citizenship test, acted out for the approval of the other citizens. There are interesting ideas here, but one wishes that Ley and David had both been aware of each other, and had joined forces to create some concrete, practical guidelines regarding how these plays should actually be staged.