Medea and Choephori: Comparative Analysis - Essay Example

Introduction Defining character through acting styles is able to create a specific response with the audience while communicating different messages about the work being performed. The acting styles are not only used to communicate a specific message, but also relay the internal emotions, psychology and internal thoughts of the characters. Using specific techniques and applying this to the stage are able to create a different meaning of who the characters are while allowing the performance to carry a different depth toward the characters and the story line. In the performances of Medea and Choephori, there are different styles used within the acting, both which show emotions and ideas such as grief and vengeance while creating a realistic understanding of the plot line that is occurring. Building Realism in Performance Both of the plays use a sense of realism to create belief of the emotional and psychological impact that comes from the plot. The realism that is created is able to draw the audience in and allows the characters to establish themselves with attributes that move the plot line forward. The foundation of this is to make the characters believable with specific techniques. The idea of realism in performance is based on taking a text and being able to define the dramatic actions that are a part of this. The more that the actions reflect the text, the easier it is for the audience to believe that the characters and the plot line are true. More importantly, the realism has to move into aesthetic qualities that reflect the text as well as the characters, both which are created through the presence that is on stage. The main application that is used for realism is to create a situation and to work outside of the boundaries of the stage so the performance isn’t theatrical, and instead relates to the audience and the way that they portray characters to the audience (Tierney, Lincoln, 181). In Medea, the concept of realism is seen through the text as well as the actions that are taken through the characters. The direction of the play is based on creating the characters and showing the internal components of each. The first section of this comes from the older woman who acts as the narrator. The realism that is created is displayed through the distinct movements and voice of the older woman, as well as the interactions that occur with the older man and the two boys. The next set of realism that is displayed comes from Medea, specifically because of the way in which her character is represented. The costumes, voice and the lack of actions that are taken from this character are able to show the grief that she is going through. However, instead of displaying this, there are subtle ways creating a realistic approach and making the grief and concepts of vengeance to seem internal. The same concepts of realism are seen through Choephori. The direction of this specific performance at first seems unrealistic because of the masks that are being worn by the characters. However, the direction uses this as basic aesthetics to link to the internal grief that is seen through the main character. The sense of realism that is created comes from the physical actions as well as the words that are being spoken through the first section. Similar to Medea, the realism is created through subtle displays of what is occurring. The ability to represent the emotional and psychological responses, without showing a large display of movements or ideas outside of the text then leads to a sense of realism that is created as a basis of the play. Acting Techniques to Display Realism To create an understanding of the emotional and psychological responses, there is the need to use different techniques for the acting, all which show a sense of believability while creating the characters in the plays. The first concept that is used with this is the delivery that is used. This includes the vocal quality as well as the rhythm and pace of delivery for the text. The voice and the use of text that is used are essential to the overall meaning of the play, specifically because of the several roles that the text plays. The text that is used is known to carry a double meaning, one which is based on the words that are heard and the other on the sound that is created from this. The use of voice then becomes essential with the delivery, specifically with combining the phonetics of the delivery for sound with the overall meaning of the text. More importantly, the text becomes essential to an understanding of symbolic meaning that reflects the internal emotions and psychology of the characters (Mateo, 21). In Medea, the use of text and the way in which this is approached is able to display the emotions and psychology through the use of complexity. The vocal quality that is heard through each of the characters is the first part of this. Each has a medium level volume that is seen through the first part. The changes in volume with vocal quality happen when there is a difference in relaying the plot line as opposed to revealing the internal thoughts of the character. For instance, the old woman at the beginning starts with a higher vocal quality, then moves into a lower pitch when she speaks about her sadness for Medea. This technique is used through each of the characters, specifically with Medea as she talks about her grief. The rhythm and pace of the text keep this same intonation and complexity to show the same emotions. The rhythm of speech with all the characters moves at a faster pace with both dialogue and monologue. However, there are accented words that show the emotions and grief. Words such as “blood,” “terrible,” “crying,” “trouble” and other words of sadness are accented. When there are areas of thought toward the emotions, then the pace and voices will also move slowly to create the same understanding of grief and vengeance. The vocal concepts used in Cheophori also are able to show the same emotional and psychological complexity. The beginning of this play uses a technique that doesn’t have the same complexity with vocal quality as Medea. The beginning vocal quality is at a louder tone and doesn’t change in volume through the first segment. When other characters come in, they match this vocal quality and relay information instead of showing fluctuations in voice toward the sorrow of the situation from Orestes. The vocal quality moves to a lower tone when the thoughts are more internal, such as when Orestes points out the women coming for the procession of the death of the father. The thoughts of Orestes move to a higher pitch, which is able to bring out the emotions and the psychological understanding of grief that is a part of Orestes learning about the death of his father. The rhythm and pace that is heard is consistent and moves at a slow pace. The accents of the words are similar to Medea. Words such as “long exile,” “help,” and “mourning” are heard more than others. However, the rhythm and pace through this play is slower, specifically so ideas of grief and sorrow can be accented while the rest of the narration for action becomes secondary. Another aspect that is used with both of the plays is the physical presence, including specific body actions as well as facial expressions. The two concepts that are used with the physicality of the performance are related to aesthetics as well as communicating the main message of the characters. The division between aesthetics and the main message are portrayed through actions that are meant to display the main concepts of the play. Both have to combine with the emotions and psychology of the play to create the right effects. The believability that comes from both the plays is one that is able to combine the aesthetics of the stage and the movements with the emotions and internal psychology that is used from the text and the portrayal of the characters (Counsell, 144). The first portrayal that is seen in both plays is through the use of physicality and expressiveness. In Medea, the techniques that are used combine with the text to create specific effects. The physical movements displayed accent the words that are a part of the play. For instance, when the narrator is speaking about the grief of Medea at the beginning, distinct motions with the hand are used to accent areas of grief. Other physical movements used create a sense of aesthetics by showing symbolism to combine with this. For instance, when the boys come back, they start to play with the old woman by taking her cane. Even though this is only a small display, it shows the innocence of the boys and the unawareness of the mother’s grief. The subtle expressions that are used with the physical movements are also used with facial expressions. The smaller movements of the face are able to depict the same psychological complexity. For instance, when Medea comes out, she shows this with slight movements of her eyes or by pulling her mouth down to a frown. Each of the characters keep the same frown consistent, with slight movements, all which show the internal emotions, grief and sorrow that has come from the situation. A different set of physical techniques are used with Choephori. The main difference comes from the aesthetics that the director uses, which creates a lack of believability in the play. The aesthetics are seen through the masks that all of the characters are wearing and which have the same expressions. To understand the psychology and emotions of the play, there is the need to listen closer to the words to see specific movements displayed. Taking away this element then leads to more distinct sounds and physical movements. The physical element is defined by brisk and defined movements that are taken with different parts of the play. For instance, Orestes cuts off two locks of his hair for his manhood and grief of his father. The movements that he takes are defined and larger than normal because it is symbolic of the grief of the character. Another example is when Elektra comes in and kneels at the tomb. She raises her hands further than usual and carries through with distinct movements to the grave to show a symbol of grief. The physical elements in this play become symbolic because of the aesthetics used, specifically to display concepts of emotional grief and sorrow while adding into the complexity of the play. Conclusion The basic concepts that are portrayed in both Medea and Choephori are designed to show emotional and psychological components o the characters. The acting style that is displayed is able to show the various sides of the characters for the audience. The use of voice as sound and as meaning, as well as the physical elements that display aesthetics, symbolism and which accent the speech is used to create a deeper understanding of the plot and characters. Specifically, each of these shows the emotions and psychological complexity of the characters by using distinct styles. The use of these techniques then leads to believability and realism of the characters and the plot line. Works Cited Cullingham, Mark, Robert Whitehead (dir). “Medea”. John F. Kennedy Center for the Performing Arts: Washington DC, 1982. Counsell, Colin. Signs of Performance: an Introduction to Twentieth – Century Theatre. Routledge: New York, 1996. Hall, Peter (dir). “Choephori.” English and National Theater of Great Britain: Orestia Company: London, 1983. Mateo, Maria. “Constraints and Possibilities of Performance Elements in Drama Translation.” Perspectives (3), (1), 1995. Tierney, William, Yvonna Lincoln. Representation and the Text: Re-Framing the Narrative Voice. Suny Press: New York, 1997. Read More