Ecphrasis in Greek tragedy

Ecphrasis is always static per se, showing what we may call a picture. This can, however, give a strong impression of vividness and movement. Thus, it should be possible to incorporate an ecphrasis in a tragedy although drama is the very opposite of stillness and rigidity. Greek drama is naturally restricted by the place for acting – usually the Theatre of Dionysus in Athens and the performative circumstances. Defined by these exterior conditions, there is a possibility of breaking them – and that is through the spoken words. This is exactly the task of the Chorus – the members impersonate not only a multitude of natives, foreigners, or friends, for instance, but also birds, boats, waves, or whatever the circumstance should demand. Describing these different voyages and journeys the Chorus make the geographic ecphraseis mobile and vivid with music and movements. Usually their “performance” ends by encircling a static core. There we find an ecphrasis of a work of art. The static, rigid, often characterizes the dramatis personae and belongs in some way to their “personality” in the action. Through close reading of the Greek texts combining them with dramaturgic points of view, I will try to show with some examples that the rigidity of the ecphrasis is the Tragedy’s own, and that the emphasized artefact reflects the dramatist’s work

Art · Greek tragedy · Literature · Tragedy (event) · Byzantine Studies and History · Classical Antiquity Studies · History · Language, Metaphor, and Cognition

• Imagery of the Elsewhere” Two Choral Odes of Euripides

  Open Access•Ruth Padel•The Classical Quarterly•1974

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• The Orchestra as Acting Area in Greek Tragedy

  Open Access•Graham Ley, Michael Ewans•Ramus•1985

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