Ancient Greek tragedy has been an inspiration to Western culture, but the way it was first performed has long remained in question. In The Theatricality of Greek Tragedy, Graham Ley provides an illuminating discussion of key issues relating to the use of the playing space and the nature of the chorus, offering a distinctive impression of the performance of Greek tragedy in the fifth century BCE. Drawing on evidence from the surviving texts of tragedies by Aeschylus, Sophocles, and Euripides, Ley explains how scenes with actors were played in the open ground of the orchestra, often considered as exclusively the dancing place of the chorus. In reviewing what is known of the music and dance of Greek antiquity, Ley goes on to show that in the original productions the experience of the chorus—expressed in song and dance and in interaction with the characters—remained a vital characteristic in the performance of tragedy. Combining detailed analysis with broader reflections about the nature of ancient Greek tragedy as an art form, this volume—supplemented with a series of illustrative drawings and diagrams—will be a necessary addition to the bookshelf of anyone interested in literature, theater, or classical studies.

古希腊悲剧一直是西方文化的灵感来源，但它最初的表演方式长期以来一直受到质疑。在《希腊悲剧的戏剧性》中，格雷厄姆-莱伊对与表演空间的使用和合唱团的性质有关的关键问题进行了富有启发性的讨论，为公元前五世纪希腊悲剧的表演提供了一个独特的印象。Ley从埃斯库罗斯、索福克勒斯和欧里庇得斯的悲剧的现存文本中提取证据，解释了有演员的场景是如何在管弦乐队的空地上表演的，而管弦乐队通常被认为是合唱团的专用舞场。在回顾已知的希腊古代音乐和舞蹈时，莱伊继续表明，在最初的制作中，合唱团的经验--通过歌曲和舞蹈以及与角色的互动来表达--仍然是悲剧表演中的一个重要特征。本书将详细的分析与对古希腊悲剧作为一种艺术形式的性质的更广泛的思考结合起来，并辅以一系列插图和图表，将成为任何对文学、戏剧或古典研究感兴趣的人的书架上的必要补充。