Visual Resources – Staging the Eumenides
iii. Read the short note on Greek Audiences, and the longer text by Csapo and Slater. How might a style, or styles, of performance have evolved in response to the scale and sight-lines of the theatre, and the nature of the spatial and emotional relationship between Athenian spectators and performers?
"If someone beside you sobbed or shuddered or trembled, you would feel it directly, and a wave of physical reaction could pass like an electric shock through all your neighbours . . mass emotionalism flourishes in compact crowds of that kind."Greek Tragedy and the Emotions, W.B. Stanford .
The relationship betwwn the Athenian spectator and performer evolved as the Thetare Dionysos became more prestigious, more grand quickly becoming only second to the olympics. The whole of Athens became united, and the performance provoke fever pitch excitement coupled with patrioarchy and nationalism.
iv. Might different parts of the theatre have demanded different styles of performance? When one was in the centre of either the orchestra or infornt of the Skene doors they would be required to perform at a higher level, with the greatest chanelling of emotion. However when perfroming as stage right, stage left the perfomance could be toned down a little – still with might projection and stron movement but with a more human side.
v. How might the style of choral performance have differed from that of the character actors?
A chracter actor will need to find and present their chracter whereas a chorul actor needs to find and present a certain mood, emotopn or psychological process . Thus the character actor will need to employ a more naturalistic perfromance, yet the chorus can use symbolism and expressionism more to their advantage.