Chorus 3 - Fate

This chorus represented the struggle and relevance of the chorus in the play. We demonstrated this through the movements we did. We split it into two sections, and each half of the chorus had movement. My half was the first, and as we said our lines we acted out going into the middle and collecting food or blankets, and then huddling around the edge of the stage, but not in the trench. This displayed the cities people suffering and how the royal families troubles are effecting others. The dialogue itself shows how envious the chorus is of others that are not going through what they are. I felt it was important to show that they are clearly suffering and we wanted to show this as clearly as possible. I decided to mime having a blanket, and huddle on the floor after my  line. The other group came together in the middle of the stage to show they are supporting each other. At the end of the chorus we split into threes, repeating round by through, creating strong positions for the person in the middle.

For the final section of each part of the dialogue we said the lines in unison, emphasising the dialogue to the audience. Using direct address in this way allowed us to connect with the audience more and immerse them in the story. After this, we positioned ourselves in trios at the edge of the stage facing out, repeated a sequence of Round By Through, making strong, proud poses. This demonstrated the chorus' purpose and strength. Finally, for the last few lines of this chorus we delivered them as a whole ensemble to the audience- 'Mother to daughter, father to son, wave upon wave of affliction. Shake the house, shake the house of Oedipus.' This is repeated throughout the chorus, making it an important line. We used our increase in volume and numbers towards the audience to show us uniting. I see the dialogue we say itself is talking about how the chorus are envious of people not suffering in the way we are. I will keep this meaning in my head for the performance, This type of meaning shows the development in the chorus and shows how initially they don't have a voice, and a the piece goes on we develop this confidence and maturity in the situation. I think this because when around the royal family they follow their lead and are civilised around them, however when having choral isolated scenes they announce their part and how they feel about the other goings on in the narrative.


Later on in the rehearsal process-
We have decided that due to our Round By Through idea stopping the energy of the piece we are going to repeat the 'See no evil, speak no evil, hear no evil' gestures in our trio positions. I feel before, the round by through manipulation had a different dynamic which didn't fit with the meaning of the scene. I think these positions are far more effective, because they suggest that the chorus have to pretend they do not know what is going on in the royal family, and they are also more recognisable to our modern contemporary audience, therefore the meaning is clearer.