The present work has a main aim to study the choral songs and the spectacle from three plays of Euripides, having as surmise the studies in the semiology of the theatrical performances as well the studies in classical philology. The three...
moreThe present work has a main aim to study the choral songs and the spectacle from three plays of Euripides, having as surmise the studies in the semiology of the theatrical performances as well the studies in classical philology. The three studied plays are: Alcestis, performed for the first time in 438 b.C.; Hippolytus, performed in 428 b.C; and Iphigeneia in Aulis, performed about 406 or 405 b.C., after the author’s death. In Chapter I, we examinated the theoretical surmises about the semiology of the theatrical performances, and the legacy of the Classical Studies about the performance in the Greek antiquity. We detached the performing nature of all poetical tradition on which is included the dramatic poetry and which was Euripides’ contribution to the dramatic gender. In Chapters II, III, and IV, we studied the supra cited texts, remarking the elements of its performance, from the established by Aristotle division in the Poetics: prologos, parodos, epeisodion, stasima, kommoí, songs of actor, and exodos, examinating the suggested spectacle in each play and its meaning. In the conclusion, we present the theatrical latency of the studied texts, which from the reading reveal their potentiality of scenic realization, that is to say, their potentiality of performance.
