Коммуникативные функции хора в античном театре

Статья посвящена рассмотрению особенностей хора как структурной части античной трагедии и функциям хора в театральном действии. Особое внимание уделено коммуникативной функции хора, его роли в общении между агонистами и зрителем. Освещены принципы эволюции греческой трагедии в свете выражения лирического, драматического и эпического начал в текстах хора. Автор приходит к выводу о промежуточной, посреднической роли хора между агонистом и зрителем, и выявляет уровни этого посредничества. Часть функций хора как структурной части театра с исчезновением хора также исчезает, знаменуя поворот от прямой коммуникации со зрителями к прообразу «четвертой стены».

Communicative functions of the chorus in ancient theater

From the birth of the theater and to the fall of the choir on the Greek tragedy stage (as the most advanced and highly regarded form of the theater of antiquity) a chorus represents a unique multi-functional structure, which main functions are aligned with the attitude of the chorus as an actor (and the action on stage in general) and as a spectator. The last, for which there was actual live ritual essence of the dramatic action and its relation to the myth of Dionysus, was open to communication and willing to empathize, prepared to catharsis. But an important condition for the success of theatrical communication was a chorus mediation between the audience and actor. Chorus addressed directly to the audience, provoking its reaction both by its lofty and short-sighted estimates, while trigerring certain emotions of the audience expressed in the choral lyric. Communication was going within the scheme actor(s)-chorus-spectator. Chorus structurally was a mediator between the actor and audience. In addition, it personified the ritual-mythological past of the drama itself, took intermediate attitude on many levels, facilitating communication between actors and audience.