From Philology to Theatrability, and Back: the Role of the Dancing Choir in Classical Plays at the Teatro Greco of Siracusa between 1914 and 1948

Abstract

In the open-air performances organised at the beginning of the 20^th century at the Greek theatre of Syracuse, one can appreciate the transformation from a melodrama-like performance to a “rhythmic” performance, with the addition of a dancing chorus to the chorus of actors. Documents and pictures preserved by the National Institute for Ancient Drama Archive witness a remarkable moment of experimentation for modern dance and particularly for Dalcroze’s eurhythmics. During the 1930s, the dancing chorus becomes an element of aesthetic and emotional amplification, and performances are characterized by a “voiding” of the significance of the poetic word, in favour of a perceptive appreciation of the performances. The performance of Oresteia in 1948 contrasts with this approach, restoring full importance for the poetic text.