FREE ESSAY ON LIFE IN THE DITHYRAMBIC CHORUS

LIFE IN THE DITHYRAMBIC CHORUS

Life in the Dithyrambic Chorus
Upon the setting sun I, Hecubus, fondly recall the days of pride and honor I felt in my
tribe, as a member of a dramatic, dithyrambic chorus. Acting was not simply my
occupation, but a lifestyle highly revered and respected by my fellow Athenian citizens.
We entertained, taught moral lessons of the past, illustrated human flaw, but most
importantly, we gave the audience a release. During the time I preformed with my chorus,
drama was closely tied to the polis, joining the people, the government, and the Gods
through public festivals. I felt immense pride to have played and active role in the
community bond that was created. The most important of these festivals was, and remains,
the City Dionysia. 
The exhausting four-day competition was held every spring, in honor of the god Dionysos
(Amos and Lang 129). The festival opened with a formal and elaborate processional, where
I and my chorus of fifty men would perform ceremonial dances at numerous alters, and
ended with sacrifices of wine and sweet meat at the sacred precinct of Dionysus. This was
a most glorious event surrounded in the beauty and rebirth of the land! A statue of
Dionysos, guided by the intense glow of torchlight, was then carried into the theatre and
a reenactment of 
Dionysos' initial entry into Athens was preformed. This statue was a constant presence in
the theatre. City Dionysia was highly attended and drew visitors and men of political
power from all of Greece. The crowd was not afraid to get into the performances...many
times they would cheer and boo, and occasionally throw things at us. Three of the four
days were reserved for tragedies, and the fourth day was for satyr and comedies (Cameron
and Gillespie 74). Between the great plays, the dithyrambic contests would be held, where
the choruses, including my dynamic troupe, would battle each other for the prize. Wine
was abundant, and the all day plays and hard stone benches seemed to effect men's
attitudes. Many times I found myself trying to sing passages over the liveliness of the
audience, but it was because of this festival that I became commonly known in Athens. 
The origin of theatre dates back to religious choral dances that were preformed in simple
grain threshing circles. One member of the chorus recited his verse or monologue with the
other chorus members (Amos and Lang 130). These primitive religious choruses resembled
the organization of the tragic chorus found in the festival. The tragic chorus served as
a main part of the tragedies, 
but were not central. Through lyrical chant they served to move plot along, or recount
the action in the performance. These thirteen men shared the orchestra with the three
actors. The tragic chorus's main form of expression was dance and song, accompanied by a
flute-player (Amos and Lang 130). 
The dithyrambic choruses, which I was a member of, worked as a dramatic team and was the
only action on stage (http://www.cs.utk.edu/~mclennan/OM/BA/PT/BA/JO-CD.html). Unlike the
organization of the tragic choruses, we were not limited by any genre of theatre and
could participate in the dark tragedies, as well as comedies if needed. But primarily,
always arranged in a circle, our impressive dance entertained between contests at the
festivals (Cameron and Gillespie 85). We were fifty men strong and competed specifically
for the dithyrambic chorus. Five Greek tribes consisted of choruses of men; the other
five were primarily made up of boys. Not only did we have to be tribal members, but also
citizens by birth. During the time that we trained or preformed, all dithyrambic chorus
members were exempt from military service. A typical training session would last about
eleven months, consisting 
of vocal, strength, and gesture training (Cameron and Gillespie 73).
The vocal training was the most intense exercise, and would leave my voice harsh, and
rough. The intent was to articulate and pronounce everything perfectly, be it in song or
slow verse. Voice and diction were the most important aspects to the choral odes, and our
training consisted of many hours in full costume to perfect the art. 
Many days I thought that the military service would have been easier! Gestures were
expected to be very rigid and distinct, but most importantly they had to be large. During
performance we were required to be in top physical shape due to the stamina required to
beat the intense heat and dry air.
For all performers, not just chorus members, costume limited our tools of expression to
voice and gesture. No women were allowed to perform, so men had to play women's roles.
All performers, except the flute player, wore bulky masks that covered the entire head,
carried hairstyles and decorations, and allowed very little opening for sight lines and
air. It was not uncommon, yet still humiliating, to pass out from the heat (Cameron and
Gillesie 86). In the Dithyrambic contests at the City Dionysia we would be 
provided with magnificent costumes in honor of the God, complete with shining crowns,
elaborate masks and hairstyles, and lively embroidered robes
(http://www.cs.utk.edu/~mclennan/OM/BA/PT/BA/JO-CD.html). This attire was a great change
from my everyday simple tunic, and sandals. 
As Athenian citizens, we are expected to contribute to the public good, and this is where
the support and funding for the City Dionysia came from. The supervisor of all dramatic
festivals and contests was the responsibility of the archon eponymos, a high civic
official (Cameron and Gillespie 73). It was his duty to appoint the financial supporters,
or the choregoi. These were wealthy citizens, who served the polis with their money and
not a specific trade. The financial burden on these men was high, for they supplied the
means for our training, costumes, and or pay. As a member of the dithyrambic chorus, I
charged between thirty-five and fifty minae, dependant upon the festival. In contrast, a
member of a tragic chorus charged only twenty to thirty minae (Cameron and Gillespie 73).
This is why my ancestry dates to the chorus! The role that the choregoi served was very
important and I felt a deep 
respect towards them, for without their participation there would be no festivals or
greatness of City Dionysos. 
Tradition is very important, and as I am too old to perform with my chorus, I intend to
pass my knowledge and experience down to my young son. My father was a great participant
in the religious choral odes, and began my vocal training at a very young age. It is so
the gods look upon us; we must honor their significance. I have grown upon knowing the
importance of sacrifice, and have seen the theatre develop throughout the years. My son,
Parlius, also has learned the importance of our interaction with the Gods. One day he
will participate in either my Dithyrambic robes, or become a great actor, performing the
plays of Sophocles and Aeschylus. He will grow up with the respect that his father had,
and learn the lessons of what it takes to be an esteemed Athenian citizen.
Works Cited
Amos, H.D., and A.G.P. Lang. These Were the Greeks. Pennsylvania: Dufour Editions, Inc,
1979.
Cameron, Kenneth, and Patti Gillespie. Western Theatre: Revolution and Revival. New York:
Macmillan Publishing Company, 1984.
Dionysian Meditations: The City Dionysia (Dionysia ta en Astei)
http://www.cs.utk.edu/~mclennan/OM/BA/PT/BA/JO-CD.html)