even almost an hour later‚ I am still shaking. Then‚ for the kindness of strangers‚ a man who sat opposite the kids took out his headphones and gave them a serve‚ telling them to stop harassing me and that he’d take them all on. It was quite a hallelujah moment for me. He really did improve the situation. It’s rare that strangers come to my aid when others stare‚ point and harass me. I thank this man so much for doing so. He’s a really good person for doing so. I doubt these kids will even
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hand is that tragedies were first performed in Athens in 6th Century BCE‚ and that they were very simple. They only had one actor and one chorus. In the 5th Century BCE this changed though. A second and third actor were added to plays‚ but there were no more then three speaking actors on stage at once. Throughout 5th Century BCE the average size of the chorus was twelve through fifteen members. The theatrical performances were part of the worship of the god Dionysus‚ the god of fertility and wine
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In both Antigone and Oedipus the King the city plays an important part with the majority of the action in both plays taking place in public in front of a chorus of Theban citizens. Personal conflict/crises take place in public‚ and when personal events take place off stage‚ they are relied to the chorus (and the audience) through messengers. The city also helps to move the plot of the plays along‚ as well providing dramatic tension. In addition the city helps to give us greater understanding of
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seething whole as the politicians play on their fears. In this play‚ the chorus continuously sings sometimes under the mask of Hindus and sometimes under that of Muslims revealing their feelings of fear and hatred for one another. When the Chariot leading the procession is broken and the Pujari is killed the Hindus masks sing: “How dare they! They broke our Chariot and felled our Gods! This is our land! How dare they?” The mob/chorus comprising five men and ten masks on sticks (five Hindu and five
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Medea and The Bacchae agitate the definitions of Greek tragedy. They both contain the basic devices of a tragedy: a chorus‚ a flaw‚ a catastrophe‚ and an intervention of fate or free will. However‚ they lack the feeling of moral purpose found in the works of Aeschylus or Sophocles. The senselessly violent endings and ambiguous character development in Medea and The Bacchae are purposeful to the overall theme of confusion. In terms of a theatrical spectacle‚ the uncertainty of what is happening on
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words that they invented were theater‚ which came from the word theatron meaning “seeing place”‚ drama‚ which came from the word dran meaning “ to do”. Chorus‚ which was the character that told what has been happening in the play‚ and ode meaning part of the play when the chorus speaks or sings. Also‚ strophe‚ which is when during the ode‚ the chorus crosses from stage right to stage left and the opposite directions for antistrophe. Another word that came for the ancient Greek theater was hypocrites
Free Tragedy Drama Ancient Greece
It is not in a way family vs. state….it is family vs. Creon state….this is the state that Creon is organizing…..why does this state have to fall? Not state in general….keep that in mind… * He wants us to see the proclamation coming up is in harmony…..he’s inviting us to see the proclamation: Eteocles will be buried in his grave while Polyneices will not be buried….he is not to be mourned….. * Creon uses the future ( Eteocles SHALL BE BURIED……) * Antigone uses the past *
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lyrics and at the end of each phrase the vocals slide downwards‚ this could be to do with the LSD factor again as he might be getting another hit etc. still sustaining the utopic atmosphere. In the transition to the chorus the drums count in but he counts in at 3/4 timing and the chorus is in 4/4. This is very unusual‚ especially in a pop song. This contributes to how the Beatles style was so sophisticated but still each individual instrument is
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In the novel‚ The House of the Spirits‚ by Isabel Allende‚ and the play‚ Medea‚ by Euripides‚ the characters from both works react intensely to get revenge on others. Although Allende mainly uses effective diction‚ and Euripides the power of the chorus‚ both authors challenge the view that when faced with injustice‚ defiance is the solution. In The House of the Spirits‚ Allende’s use of diction enhances the injustice that Esteban Garcia ll must confront‚ but also to emphasize the consequences
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The characters in Oedipus the King express many different views on fate‚ prophecy‚ and the power of the gods. Characters like the chorus and the leader have solid beliefs in the gods and prophecy‚ but their faith is shaken many times and is changed based on the events that happen. Other characters like Jocasta refuse to accept the prophecies as truth. Towards the end of the play‚ however‚ all have no hesitation in their minds that the power of the gods and prophecies are valid. Everything that was
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