Nbr de page 336 pages 7.
La tragédie grecque (Quadrige) (French Edition) tragédie grecque.
C. is especially good in this chapter on the problematic third stasimon (p. 162–168), making an illuminating gendered reading of the ode that allows for a chorus comprised of the young companions of Hippolytus and the Trozenian women.
La Tragédie grecque 2. Les mythes ont fourni la matière de la très Athenian stage. It is very much to be hoped that this study might appear one day in an English translation — I can imagine it being widely used for course preparation at many levels, as well as for training in theater.La Tragédie chorale : poésie grecque et rituel musicalLa Tragédie chorale : poésie grecque et rituel musical
The chorus of the is, as the A. well highlights, all but the central actor in the drama; in this case a ‘traditional’ perception of Greek tragedy as centered on the tragic hero surely misses the point (p. 132).L’Hippolyte d’Euripide : le chant choral marqué par le ‘genre’, C., a scholar whose extensive work on both the poetics of Eros and the poetry of young girls () is of seminal importance, turns his attention to the choral song of a play that presents the modern reader with a certain amount of confusion in terms of gender roles. En poursuivant votre navigation sur ce site, vous acceptez l'utilisation de Cookies ou autres traceurs pour améliorer et personnaliser votre navigation sur le site, réaliser des statistiques et mesures d'audiences, vous proposer des produits et services ciblés et adaptés à vos centres d'intérêt et vous offrir des fonctionnalités relatives aux réseaux et médias sociaux. p. 144–146) that Aeschylus evades the mistake committed by the tragedian Phrynichus (whose had greatly distressed his Athenian audience) by setting a Greek tragedy in Susa, where a Greek tragic hero, here Xerxes, through an act of hybris (forcing the border of Asia and Europe) brings catastrophe upon his people.
3. As the is a religious festival, so the choral odes of the give the Athenian audience “an understanding of man’s destiny as revealed through Oedipus’ experience, a human identity founded on a destiny of divine order that Zeus guarantees and Apollo reveals” (p. 200). Pour citer cet article Référence papier. Moving away from the Romantic reception of Aristotle, here C. rather follows the intellectual path of in particular P. Vernant and P. Vidal-Naquet to approach tragedy as musical spectacle and as an integral part of a religious festival, the Il faut donc restituer à la tragédie attique le spectacle, le concours poétique, les Grandes Dionysies, en un mot la performance musicale : la fiction tragique s’offre comme un enchaînement de séquences musicalesIn the following pages the A. considers ritual in tragedy (the hymns of Euripides’ , the language and imagery of sacrifice in the parodos of the , and then comes to a very important discussion of tragedy in cult performance; the reader is well reminded of the involvement of the entire city in the festival itself — by reading our surviving texts as ‘literature’ we are deprived of the political, musical and indeed spectacle reality of Greek Tragedy)., the A. explores the mediatory role the chorus assumes in the orchestra between the heroic action that takes place on the stage and the ‘here and now’ of the contemporary Athenian audience. Dès les temps les plus anciens, la Grèce a
Choral melic representation of mythological narrative is, as C. demonstrates, a revealing analogy.
Throughout the A. lays emphasis on the role of ‘song-making’ (Gr. to evaluate the action on-stage. Nous sommes désolés que ce cours ne te soit pas utileN'hésite pas à nous écrire pour nous faire part de tes suggestions d'améliorationGardez ce lien dans vos favoris : vous pourrez vous en servir du lundi au vendredi, de 9 h à 17 h.