37:
379:
362:: "The sums spent on choregiai show that the duty could elicit vast expenditure. One extremely enthusiastic choregos catalogues a list which represents an outlay of nearly two and a half talents. This includes a dithyrambic choregia at the Little Panathenaea for 300 drachmae, and a tragic choregia for 3,000 dr. The latter figure is roughly ten times what a skilled worker might have earned annually." The reorganization of the
504:
were an example of a larger tradition of cosmopolitanism, defined by an interest in benefiting others, that dominated many aspects of urban life for the wealthy in ancient Greece and which has been linked to
Western philanthropy. Many of these acts, which also included subsidy of temples, armories,
158:
system designed to improve the city-state's economic stability through the use of private wealth to fund public good. Choregoi paid for costumes, rehearsals, expenses of the chorus (including training, salaries, board and lodging), scenery, props (including elaborate
509:
contributions to the theatre of ancient Greece were integral to the flourishing of drama in ancient Greece and the structure of the society's cultural landscape. One of the earliest references to the philanthropic impulse can be traced to
Aeschylus's
259:
of boys were required by
Athenian law to be over forty years old to protect the young participants. Volunteers from this selected group of qualified individuals may have been the source of most appointments. The figure of the
425:, were the final step in the victory celebration, which also involved a parade and a feast. Each monument featured an eloquent inscription that echoed the original victory announcement made at the Dionysia.
338:
was expected to finance all aspects relating to the chorus, which could include training, the hiring of an expert to execute such training, salaries, and board and lodging during a lengthy rehearsal period.
198:
At the turn of the 17th century AD, in an attempt to recreate the ancient Greek dramatic tradition, the position was revived briefly in
Italian opera, and combined the roles of impresario and director.
334:), special effects, such as sound, and musicians, except that the state provided the flute player and paid the actors not in the chorus. At the City Dionysia in Athens, for example, the
287:
system of ancient Athens, which was designed to improve the city-state's economic stability through the use of private wealth to fund public good. Once nominated, however, a potential
295:, he could claim one of several specifically defined exemptions and be excused from service. Finally, he could identify another Athenian who was more qualified to perform the role of
410:, and these honors could be an important stepping stone to a successful political career for wealthy young Athenians. Conversely, failure to successfully execute one's role as a
421:
were honored further with the erection of a monument in honor of their accomplishment. These monuments, which have become an important source of scholarly knowledge about the
1313:
753:
505:
and other essential municipal needs, were driven more by personal vanity, societal pressure, and political influence than the modern philanthropic impulse. Nevertheless, the
167:
also hosted a feast if his chorus proved victorious in competition. The prizes for drama at the
Athenian festival competitions were awarded jointly to the playwright and the
264:
can be traced back as early as the 7th century B.C. References to the title are found in recovered portions of the earliest choral lyric poetry, including the
1328:
898:
Buck, Carl D. (March 1889). "Discoveries in the Attic Deme of Ikaria 1888. III. The
Choregia in Athens and at Ikaria. Inscriptions from Ikaria Nos. 5-7".
532:
At the turn of the 17th century AD, when the first operas were being written in an attempt to recreate the old Greek dramatic tradition, the position of
247:
because their mutual wealth allowed them to move in the same social circles as the most qualified candidates. In order to be considered for the role of
243:(the major festival competitions). The archon, who began this process months in advance of a festival, were able easily to identify potential dramatic
1066:
Savage, Rover; Matteo
Sansone (November 1989). "Il Corago and the Staging of Early Opera: Four Chapters from an Anonymous Treatise circa 1630".
1357:
1348:
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was often expected to host a feast, analogous to a modern cast party, should his chorus prove victorious in competition. According to the
670:
1102:
1343:
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was a personal award. The winner was expected to display his trophy in a place of honor. Such victories carried prestige for the
489:
still standing in Athens erected in honor of the festival victory of his production in 335 BC. Ruins of a choragic monument to
318:
production in ancient Athens: paying for costumes, rehearsals, the chorus, scenery or scene painting (including such items as
283:, though an honor, was a duty rather than a choice for wealthy citizens. This duty was one among many built into the state
1386:
710:
Kaiser, Brooks A. (June 2007). "The
Athenian Trierarchy: Mechanism Design for the Private Provision of Public Goods".
1300:
1192:
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851:
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486:
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Greek society was a symbiosis of art and politics, and several notable political figures of the time served as
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was revived briefly. It was known in
Italian as "corago", and combined the roles of impresario and director.
331:
160:
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36:
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and the tribes of
Athenian citizens from among the Athenian citizens of great wealth. Service as a
17:
1204:
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354:(Χοροδιδάσκαλος, often shortened to διδάσκαλος), often the playwright, to train the chorus. The
520:, which translates to "love of humankind," displaying an early tie between the theatre and the
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did not act as the director for the production; this role was fulfilled by the playwright. The
1132:
614:
1137:
576:) rather than the more usual Greek form "χορηγός" (choregos). The later forms of the word in
540:
950:
De Cou, Herbert F. (1893). "The Frieze of the Choragic Monument of Lysikrates at Athens".
8:
291:
had three choices. He could accept the nomination and the duty. Through a process called
106:
and other aspects of dramatic production that were not paid for by the government of the
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asserted more personal responsibility, and by the fourth century BC the prize for the
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The prizes for drama at the Dionysia were awarded jointly to the playwright and the
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in 406 BC spread the cost among the wider community – the synchoregia – with the
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83:
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723:
1370:
659:
1246:
The Athenian Institution of the Khoregia: The Chorus, The City and The Stage
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985:
Dinsmoor, W.B. (October–December 1910). "The Choragic Monument of Nicias".
465:
441:
395:
256:
180:
133:
103:
1044:
1101:
Kennedy, Joyce; Kennedy, Michael; Rutherford-Johnson, Tim, eds. (2012).
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or teacher, instructing the other principal actors. See Brockett, p. 18.
251:, an individual had to be an Athenian citizen and possess great wealth.
1087:
952:
The American Journal of Archaeology and of the History of the Fine Arts
900:
The American Journal of Archaeology and of the History of the Fine Arts
731:
674:. Vol. 6 (11th ed.). Cambridge University Press. p. 269.
154:, though an honor, was a duty for wealthy citizens and was part of the
113:
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971:
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884:
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240:
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The Metropolitan Museum of Art's Review of Theatre in Ancient Greece
623:, September 2013. Oxford University Press. Retrieved 9 November 2013
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Choragic Monument of Lysicrates near the Acropolis in Athens, Greece
998:
963:
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Theatre Production Studies ser. London and New York: Routledge.
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The playwright also appeared in the production and acted as the
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In 1626, the position of an assistant professor of music at the
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663:
273:
269:
216:
147:
55:
40:
1031:
Miller, Eugene F. (2006). "Philanthropy and Cosmopolitanism".
577:
477:, a rare exception to the qualification of wealth, served as
474:
220:
191:, among others. Monuments were built in honor of victorious
188:
108:
48:
863:
Capps, Edward (1896). "The Dramatic Synchoregia at Athens".
580:(choragus) and Italian (corago) followed the Attic spelling.
455:(named for the Phoenician women who formed the chorus), and
752:
Smith, William; Wayte, William; Marindin, G.E. Ed. (1890).
493:
from the 5th-century BC were discovered in Athens in 1852.
52:
1334:
The British Museum's Exploration of Ancient Greek Theatre
1182:
485:. Choregos Lysicrates is remembered today because of the
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acted on behalf of his tribe, which collectively won the
314:
Choregoi were responsible for supporting many aspects of
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for a successful performance. Gradually the sponsoring
94:: χορός "chorus" + ἡγεῖσθαι "to lead") was a wealthy
27:"Choragus" redirects here. For the insect genus, see
1065:
778:(January 2003). "Choral Identity in Greek Tragedy".
1201:
1168:. Harmondsworth, Middlesex, UK; New York: Penguin.
163:), special effects and most of the musicians. The
1222:
227:for the tragedies, while the tribes supplied five
124:, with the accepted plurals being the Latin forms
1344:Ancient Greek Dramatic Festivals and Competitions
1368:
1187:(Foundation ed.). Boston: Allyn and Bacon.
760:. perseus.tufts.edu. Retrieved 17 November 2013.
481:for a boys chorus supported by the patronage of
175:. Several notable political figures served as
116:. Modern Anglicized forms of the word include
1248:. Cambridge, UK: Cambridge University Press.
1183:Brockett, Oscar G; Hildy, Franklin J (2003).
202:
1349:"Defence against a Charge of Taking Bribes"
1318:A Dictionary of Greek and Roman Antiquities
1133:"Emeritus Professor Stephen Darlington MBE"
758:A Dictionary of Greek and Roman Antiquities
223:of Athenian citizens. The archon appointed
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171:. Such victories carried prestige for the
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572:The Attic and Doric form was "χοραγός" (
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98:citizen who assumed the public duty, or
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140:is synonymous with the word "grantor".
102:, of financing the preparation for the
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1265:Gender and Politics in Greek Tragedy
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62:Auteas and Philoxenides (313–312 BC)
1267:. New York: Peter Lang Publishing.
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24:
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700:Wilson, pp. 53–61, 113 and 198–213
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414:could lead to social humiliation.
25:
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1225:Oxford Dictionary of Modern Greek
1208:. New York: Harper and Brothers.
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370:paying only part of the expense.
846:, Oxford University Press, 2007
842:Roberts, John (ed.) "chorēgia",
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330:), props (including elaborate
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231:for the comedies as well as
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1363:at 6.11 (perseus.tufts.edu)
1354:at 21.1 (perseus.tufts.edu)
1229:. Oxford: Clarendon Press.
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1387:Taxation in ancient Athens
1164:(1984). P J Rhodes (ed.).
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203:Nomination and appointment
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1263:Zelenak, Michael (1998).
1166:The Athenian Constitution
1080:10.1093/earlyj/xvii.4.495
724:10.1017/s0022050707000162
620:Oxford English Dictionary
516:with the use of the word
299:and use the procedure of
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68:theatre of ancient Greece
483:Dionysius II of Syracuse
1382:Ancient Athenian titles
1205:A Greek-English Lexicon
1109:Oxford University Press
1070:. The Baroque Stage I.
671:Encyclopædia Britannica
303:to resolve the matter.
268:(or "Maiden-songs") of
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1185:History of the Theatre
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374:Prizes and recognition
215:were appointed by the
146:were appointed by the
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1377:Ancient Greek theatre
1293:Greek Tragic Theatre.
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497:Philanthropic context
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555:Notes and references
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528:17th-century revival
524:, and philanthropy.
272:, a poet of archaic
1221:Pring, J T (1982).
780:Classical Philology
1358:"On the Choreutes"
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364:choregia
356:choregos
348:choregos
344:choregos
336:choregos
309:choregoi
297:choregos
289:choregos
281:choregos
262:choregos
257:choruses
253:Choregoi
249:choregos
245:choregoi
237:Dionysia
235:for the
233:choregoi
229:choregoi
225:choregoi
219:and the
213:choregoi
209:Athenian
193:choregoi
185:Pericles
177:choregoi
173:choregos
169:choregos
165:choregos
152:choregos
144:Choregoi
122:choregus
118:choragus
96:Athenian
73:choregos
60:choregoi
45:Dionysus
18:Choregia
1155:Sources
1088:3127018
732:4501159
321:mechane
316:theatre
301:skepsis
293:skepsis
138:χορηγός
130:choragi
126:choregi
88:χορηγός
66:In the
1352:Lysias
1320:(1890)
1299:
1271:
1252:
1233:
1212:
1191:
1172:
1115:
1086:
1051:
1013:
1007:497149
1005:
972:495920
970:
926:
920:495931
918:
885:288240
883:
850:
806:
798:
738:
730:
491:Nicias
274:Sparta
270:Alkman
221:tribes
217:archon
148:archon
104:chorus
70:, the
56:Aixone
41:Relief
1084:JSTOR
1049:S2CID
1011:S2CID
1003:JSTOR
968:JSTOR
924:S2CID
916:JSTOR
881:JSTOR
804:S2CID
796:JSTOR
736:S2CID
728:JSTOR
578:Latin
560:Notes
475:Plato
396:kudos
332:masks
189:Plato
161:masks
132:. In
109:polis
84:Greek
76:(pl.
49:satyr
1297:ISBN
1269:ISBN
1250:ISBN
1231:ISBN
1210:OCLC
1189:ISBN
1170:ISBN
1113:ISBN
848:ISBN
463:for
448:for
444:was
342:The
324:and
255:for
239:and
187:and
128:and
120:and
53:deme
47:and
1316:in
1076:doi
1041:doi
995:doi
960:doi
908:doi
873:doi
788:doi
720:doi
469:by
112:or
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1072:17
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1037:15
1035:.
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1001:.
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989:.
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879:.
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867:.
802:.
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782:.
765:^
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651:^
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956:8
930:.
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887:.
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722::
31:.
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218-219-Halai_honorific_decree-2.JPG)