A study of the Greek chorus and the renaissance masque in view of twentieth century theatre ritual

Includes bibliographical references (pages 91-94)The chorus of the Greek tragedy originated in the Dionysian ritual. The Rennaisance masque was a sophistication of the social customs of dancing and disguising found in seasonal festivals of the early Rennaisance. In the twentieth century, several theatre groups, specifically the Polish Lab Theatre and Open Theatre in the Unites States profess a return to myth and ritual in order to reestablish the basis of social art; these groups constitute an invention of ritual elements for the influence of social traditions on theatrical content and form which occurred in the past. An aspect in theatre content is shown in the emphasis on basic ideas and social values rather than on dramatic situations that arise from a conflict of values. It might be summarized as an interest in archetypes. One formal element which relates to ritual activity is the use of dance or movement technique as a means of expression. The directness and the emotional appeal of dance complement language and serve to involve an audience in the theatrical spectacle. The characteristics of content and form are derived from two basic functions of ritual, which are to mediate contradictions and to create social cohesion. Ritual elements in theatre differ from social customs insofar as theatrical form and content are designed to induce definite reactions in the spectator, whereas ritual exists to bring practical benefits to the community. The chorus of Greek tragedy attempted to alter an audience???s perspective on dramatic action; the masque aimed to ennoble its spectator; while 20th century ???secular ritual??? wants to shock and lift social masks. The chorus and the masque sublimated social life while modern theatre returns to basic experience, and in this respect, it has the most direct affinity with ritual