Professor Armand D’Angour

Sometimes they're assumed to be very present amongst the people who are on stage, amongst the main actors. In the case of Electro, they have the women of Mycenae and they seem to be there observing what's going on and observing the killing. So in the recent production that we saw,

Es ist, als ob sie die Mitglieder des Publikums sind, die, wenn Leighton Lester getötet wird, anerkannt werden, in einer Art Radio-like Weise, als ob sie herumkastern und die toten Körper und die gruselige Szene vor ihnen schauen. Aber wir wissen, dass in alten Tragödie die Chorus, oder eventuell, 15 Männer waren, also alle männlichen Chorusse.

Es ist, als ob sie die Mitglieder des Publikums sind, die, wenn Leighton Lester getötet wird, anerkannt werden, in einer Art Radio-like Weise, als ob sie herumkastern und die toten Körper und die gruselige Szene vor ihnen schauen. Aber wir wissen, dass in alten Tragödie die Chorus, oder eventuell, 15 Männer waren, also alle männlichen Chorusse.

Es ist, als ob sie die Mitglieder des Publikums sind, die, wenn Leighton Lester getötet wird, anerkannt werden, in einer Art Radio-like Weise, als ob sie herumkastern und die toten Körper und die gruselige Szene vor ihnen schauen. Aber wir wissen, dass in alten Tragödie die Chorus, oder eventuell, 15 Männer waren, also alle männlichen Chorusse.

And they had these interludes in which they sang and danced. So between the action of the play and the speeches given by the actors, the protagonists, you had the chorus come on, comment on the action, sing and dance prayers to gods who happen to be engaged, maybe sing prayer for mercy or to allow something to happen that they fear is not going to happen or something of that kind.

And they had these interludes in which they sang and danced. So between the action of the play and the speeches given by the actors, the protagonists, you had the chorus come on, comment on the action, sing and dance prayers to gods who happen to be engaged, maybe sing prayer for mercy or to allow something to happen that they fear is not going to happen or something of that kind.

And they had these interludes in which they sang and danced. So between the action of the play and the speeches given by the actors, the protagonists, you had the chorus come on, comment on the action, sing and dance prayers to gods who happen to be engaged, maybe sing prayer for mercy or to allow something to happen that they fear is not going to happen or something of that kind.

und manchmal mit den Schauspielern verabschieden und ihre Emotionen ausdrücken. Sie agieren also ein wenig so, als wären sie ein Intermediärgruppe zwischen den Schauspielern und dem Publikum. Sie repräsentieren die Schauspielerinnen und Schauspieler, sie repräsentieren uns, den Publikum. Sie werden also reflektieren, wie wir es tun könnten. Oh, was für eine schreckliche, schreckliche Sache.

und manchmal mit den Schauspielern verabschieden und ihre Emotionen ausdrücken. Sie agieren also ein wenig so, als wären sie ein Intermediärgruppe zwischen den Schauspielern und dem Publikum. Sie repräsentieren die Schauspielerinnen und Schauspieler, sie repräsentieren uns, den Publikum. Sie werden also reflektieren, wie wir es tun könnten. Oh, was für eine schreckliche, schreckliche Sache.

und manchmal mit den Schauspielern verabschieden und ihre Emotionen ausdrücken. Sie agieren also ein wenig so, als wären sie ein Intermediärgruppe zwischen den Schauspielern und dem Publikum. Sie repräsentieren die Schauspielerinnen und Schauspieler, sie repräsentieren uns, den Publikum. Sie werden also reflektieren, wie wir es tun könnten. Oh, was für eine schreckliche, schreckliche Sache.

You know, Clytemnestra is dead and bleeding. the way that we, the audience might be expected to react. So they're this kind of intermediate group. But the key thing is that they are there to provide musical interludes. So, I mean, they were very much the music of the play. These were like operas.

You know, Clytemnestra is dead and bleeding. the way that we, the audience might be expected to react. So they're this kind of intermediate group. But the key thing is that they are there to provide musical interludes. So, I mean, they were very much the music of the play. These were like operas.

You know, Clytemnestra is dead and bleeding. the way that we, the audience might be expected to react. So they're this kind of intermediate group. But the key thing is that they are there to provide musical interludes. So, I mean, they were very much the music of the play. These were like operas.

In fact, when opera was first invented in the 16th century, they were trying to replicate what they thought Greek theater was doing. And so they thought, well, you know, there is this singing that goes on. They try to work out what the music was, but with They didn't have enough evidence at that stage. We now have more.

In fact, when opera was first invented in the 16th century, they were trying to replicate what they thought Greek theater was doing. And so they thought, well, you know, there is this singing that goes on. They try to work out what the music was, but with They didn't have enough evidence at that stage. We now have more.

In fact, when opera was first invented in the 16th century, they were trying to replicate what they thought Greek theater was doing. And so they thought, well, you know, there is this singing that goes on. They try to work out what the music was, but with They didn't have enough evidence at that stage. We now have more.

And they created Italian, you know, wonderful Florentine opera and oratorio as a result of not really knowing what ancient music was like, probably a blessed relief. But the chorus then, in the production that we saw, actually had rather lovely singing parts, four-part harmonies, and they were singing... You know, making their comments very clear for us to hear and their interjections.

And they created Italian, you know, wonderful Florentine opera and oratorio as a result of not really knowing what ancient music was like, probably a blessed relief. But the chorus then, in the production that we saw, actually had rather lovely singing parts, four-part harmonies, and they were singing... You know, making their comments very clear for us to hear and their interjections.

And they created Italian, you know, wonderful Florentine opera and oratorio as a result of not really knowing what ancient music was like, probably a blessed relief. But the chorus then, in the production that we saw, actually had rather lovely singing parts, four-part harmonies, and they were singing... You know, making their comments very clear for us to hear and their interjections.

Yes, that's right. So they do reflect, they do advise as well. Sometimes the advice of the chorus is is part of the action. So in St. Sophocles' Antigone, when the chorus say, they say to Creon, who has ordered Antigone to die by being walled up, they say, really, you should release her. You've made the wrong decision. And he then wavers and decides that he will do that. Too late.