The Greek Chorus
The Greek chorus (choros) is a group of twelve or fifteen minor actors in tragic and
twenty-four in comic plays of classical Athens. They can portray any characters, for
instance, in Aeschylus' Agamemnon, the chorus comprises the elderly men of Argos,
whereas in Euripides' The Bacchae, they are a group of eastern bacchants, and in
Sophocles' Electra, the chorus is made up of the women of Argos.
Dramatic function
 Plays of the ancient Greek theatre always included a chorus that offered a
variety of background and summary information to help the audience follow
the performance.
 The Greek chorus comments on themes, and shows how an ideal audience
might react to the drama.
 In many of these plays, the chorus expressed to the audience what the main
characters could not say, such as their hidden fears or secrets. The chorus
often provided other characters with the insight they need.
 The chorus also represents, on stage, the general population of the particular
story, in sharp contrast with many of the themes of the ancient Greek plays,
which tended to be about individual heroes, gods, and goddesses.
Stage management
 The Greek chorus usually communicated in song form, but sometimes spoke
their lines in unison.
 The chorus had to work in unison to help explain the play, as there were only
one to three actors on stage who were already playing several parts each.
 As the Greek theatres were so large, the chorus' actions had to be exaggerated and their
voices clear so that everyone could see and hear them. To do this, they used techniques
such as synchronization, echo, ripple (canon), physical theatre and the use of masks to
aid them.
 A Greek chorus was often led by a coryphaeus (Chorus leader). They also
served as the ancient equivalent for a curtain, as their parodos (entering
procession) signified the beginnings of a play and their exodos (exit
procession) served as the curtains closing.
 The standard number of members of a chorus was twelve throughout most of
Aeschylus's career, but was raised to fifteen by Sophocles. And 20+ in
comedies.
 The chorus often wore identical costumes and masks to help identify them as a
group making them anonymous compared to the other actors.
Audience Surrogates
 The Greek chorus often acted as audience surrogates, questioning the other
characters' motives or warning them about the consequences of their actions.
The Chorus are often also considered as the ideal audience' for a play, in that
their reactions to the action on stage reflect the way the playwright hopes the
audience might react.
Filler
 On a more practical level, the songs and speeches of the Greek chorus gave
the other actors time to take a break while allowing the scenery to be adjusted
and other changes made to the set.
Spectacle
 In the days of Greek theater, sets were very sparse and special effects
nonexistent. The Chorus served to add to the theatrical effect of the piece,
adding movement and heightening the spectacle of the performance
Songs
Like more modern choruses, the Greek chorus would sing songs concerning the
drama and characters in the play.
Exposition
They perform in some cases a narrator role, often setting the scene and ethical and
political atmosphere of the piece, yet they also often interact with the actors, at
points questioning their actions and giving advice. They also, through the pace and
style of their songs/dances/dialogue set the mood of the play, and demonstrate
changes in mood throughout the play
The Greek Chorus
The Greek chorus was a group of 12 - 24 actors.
The chorus was integral to Greek plays and often had over half the
lines in the play.
They were similarly dressed and always wore masks.
The chorus commented on the action in play.
The role of the greek chorus was:
1.
to offer a sense of "rich spectacle"
2.
to provide time for scene changes
3.
to give the main actors a break
4.
to offer background information
5.
to offer information about the main themes animating the action
6.
to show an ideal audience's response both as individuals and as
a unified group
7.
to act as a crowd
8.
to tell of battles (battles, murders, executions, disfigurings etc.
were not allowed to be performed in greek theatre)
9.
to be a go-between from the audience to actors
10. to tell the audience of character's fear and secrets (what the
actors couldn't say themselves)
Looking at the YOUTUBE samples of a 1984 version of Oedipus Rex, write a series of
bullets which describe how the chorus is used:
Oedipus Rex part 9
http://www.youtube.com/watch?v=ieO4DtH5L4c&feature=related
Oedipus Rex part 10
http://www.youtube.com/watch?v=t0RNmFK3SRI&NR=1
The Greek Theatre was extraordinary architecturally, making it possible for twice
the number of people who can be seated in the SBS Canterbury Arena without
microphones. The only way they could see was by looking at oversized masks
which suggested facial expression.
Epidaurus the clapping test starts at 1 min 20 secs
http://www.youtube.com/watch?v=rwOR4y7JDrY
Epidaurus Theatre: origins and acoustics
http://www.youtube.com/watch?v=2CVO9Vd067U&feature=related
With television, we do not need masks to get closer to the facial expression, but note
that this recording does not have any microphones. Notice how close they act to the
”centre” of the stage.
Helen Mirren / Phèdre / Epidaurus 2009
http://www.youtube.com/watch?v=YgKpWUKKkW0&feature=related
What is a chorus in Shakespeare?
The chorus is a group of people (or sometimes even one person) who
recite(s) the prologue/introduction to each act in Shakespeare's plays.
In Romeo and Juliet, the prologue and introductions are all in sonnet
form. The prologue to Romeo and Juliet simply gives a sense of what
the play is about, and the introductions to the rest of the acts sort of
summarise what is to come as well. I guess the chorus is sort of like
an overture in an opera; it sets the mood.
Chorus foreshadows what is to come. Also, because the audience in
Shakespeare's day was so rude and often extremely noisy, the
prologue actually tells the audience to be quiet and pay attention.
Romeo and Juliet prologue
http://www.youtube.com/watch?v=3Ii5PLxnNpk
Watch the first part of this clip – and then you can watch some more if you
want
A Midsummer Night’s Dream
Shakespeare tells us himself how he will use a prologue in a play to
foreshadow the action and warn the audience of what is to come in A
Midsummer Night’s Dream
Act 3 Sc 1: the Mechanicals prepare a play for the Duke
BOTTOM
Peter Quince,--
QUINCE
What sayest thou, bully Bottom?
BOTTOM
There are things in this comedy of Pyramus and
Thisby that will never please. First, Pyramus must
draw a sword to kill himself; which the ladies
cannot abide. How answer you that?
SNOUT
By'r lakin, a parlous fear.
STARVELING
I believe we must leave the killing out, when all is
done.
BOTTOM
Not a whit: I have a device to make all well.
Write me a prologue; and let the prologue seem to
say, we will do no harm with our swords, and that
Pyramus is not killed indeed; and, for the more
better assurance, tell them that I, Pyramus, am not
Pyramus, but Bottom the weaver: this will put them
out of fear.
QUINCE
Well, we will have such a prologue; and it shall be
written in eight and six.
BOTTOM
No, make it two more; let it be written in eight and eight.
SNOUT
Will not the ladies be afeard of the lion?
STARVELING
BOTTOM
I fear it, I promise you.
Masters, you ought to consider with yourselves: to
bring in--God shield us!--a lion among ladies, is a
most dreadful thing; for there is not a more fearful
wild-fowl than your lion living; and we ought to
look to 't.
SNOUT
Therefore another prologue must tell he is not a lion.
BOTTOM
Nay, you must name his name, and half his face must
be seen through the lion's neck: and he himself
must speak through, saying thus, or to the same
defect,--'Ladies,'--or 'Fair-ladies--I would wish
You,'--or 'I would request you,'--or 'I would
entreat you,--not to fear, not to tremble: my life
for yours. If you think I come hither as a lion, it
were pity of my life: no I am no such thing; I am a
man as other men are;' and there indeed let him name
his name, and tell them plainly he is Snug the joiner.
QUINCE
Well it shall be so. But there is two hard things;
that is, to bring the moonlight into a chamber; for,
you know, Pyramus and Thisby meet by moonlight.
QUINCE
Ay; one of you must come in with a bush of thorns
and a lanthorn, and say he comes to present,
the person of Moonshine. Then, there is
another thing: we must have a wall in the great
chamber; for Pyramus and Thisby says the story, did
talk through the chink of a wall.
SNOUT
You can never bring in a wall. What say you, Bottom?
BOTTOM
Some man or other must present Wall: and let him
have some plaster, or some loam, or some rough-cast
about him, to signify wall; and let him hold his
fingers thus, and through that cranny shall Pyramus
and Thisby whisper.
Then in Act V, the play within the play is carried out, starting
with a prologue followed by other actors announcing who they
really are.
Act V: The Mechanicals perform the Lamentable Tragedy of Pyramus
and Thisbe (what a riot)
PHILOSTRATE
THESEUS
So please your grace, the Prologue is address'd.
Let him approach.
[Flourish of trumpets]
[Enter QUINCE for the Prologue]
[Enter Pyramus and Thisbe, Wall, Moonshine, and Lion]
PROLOGUE Gentles, perchance you wonder at this show;
But wonder on, till truth make all things plain.
This man is Pyramus, if you would know;
This beauteous lady Thisby is certain.
This man, with lime and rough-cast, doth present
Wall, that vile Wall which did these lovers sunder;
And through Wall's chink, poor souls, they are content
To whisper. At the which let no man wonder.
This man, with lanthorn, dog, and bush of thorn,
Presenteth Moonshine; for, if you will know,
By moonshine did these lovers think no scorn
To meet at Ninus' tomb, there, there to woo.
This grisly beast, which Lion hight by name,
The trusty Thisby, coming first by night,
Did scare away, or rather did affright;
And, as she fled, her mantle she did fall,
Which Lion vile with bloody mouth did stain.
Anon comes Pyramus, sweet youth and tall,
And finds his trusty Thisby's mantle slain:
Whereat, with blade, with bloody blameful blade,
He bravely broach'd is boiling bloody breast;
And Thisby, tarrying in mulberry shade,
His dagger drew, and died. For all the rest,
Let Lion, Moonshine, Wall, and lovers twain
At large discourse, while here they do remain.
[Exeunt Prologue, Thisbe, Lion, and Moonshine]
THESEUS
I wonder if the lion be to speak.
DEMETRIUS No wonder, my lord: one lion may, when many asses do.
WALL
In this same interlude it doth befall
That I, one Snout by name, present a wall;
And such a wall, as I would have you think,
That had in it a crannied hole or chink,
Through which the lovers, Pyramus and Thisby,
Did whisper often very secretly.
This loam, this rough-cast and this stone doth show
That I am that same wall; the truth is so:
And this the cranny is, right and sinister,
Through which the fearful lovers are to whisper.
Many school groups and famous actors and singers have had a great
time presenting the play within the play.
Enjoy this example from the 1960’s:
http://www.youtube.com/watch?v=y24geONER0k&feature=related
Modern usages
 Modern plays, especially Broadway musicals and grand operas, sometimes
incorporate a contemporary version of the chorus, although they serve a
different purpose.
 One of the best-known modern uses of Greek Chorus is found in Stephen
Sondheim's 1979 musical thriller SweeneyTodd
http://www.youtube.com/watch?v=83F_OHrnhgo&feature=fvw
starts @1 min 40secs
 In the musical Little Shop of Horrors, Crystal, Ronnette and Chiffon function
as a Greek chorus, commenting on the action throughout the show.
 Source CC/SMC LSOH 2002
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


They observe the action from above
They speak for the plant
They tell us Seymour’s thoughts
They are different to the rest of the acting chorus of character down and outs
http://www.youtube.com/watch?v=iHCHgH7QwWI&feature=related
 In the musical play Mamma Mia! and its film adaptation, the locals at the villa
are literally a Greek chorus in the classical and modern sense.
 In parts of the animated film Flushed Away, the slugs some times act as back
up singers and some times as miniature Greek chorus.
Looking at the YOUTUBE samples of an American Drama classes graduation concert,
identify ways the chorus use words, rhythms and actions to tell their story. What
key techniques did they use to make their work precise?
American kids drama class
http://www.youtube.com/watch?v=u69lQR4ZmZo
Brechtian Verfrumsdung Effekt
In Epic Theatre is enhanced by choral speak as the whole cast bombards the
audience in song or poetry. They break the fourth wall and speak directly to
the audience. They challenge the audience to think about a whole world view.
They break chronological time sequence and they try to distance the audience
from the characters, so that the audience concentrates on the message
In OUR TOWN Thornton Wilder uses the Narrator/Stage Manager as a single Choral
voice to describes huge scenic detail to the audience – a naturalistic play without
a set. The Stage Manager engages the audience and entices them to suspend their
disbelief as they see an empty stage He helps the audience to believe a whole town
can be represented by a couple of ladders and a few chairs, over 3 acts.