26:
368:
351:: "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
493:
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,
147:
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
498:
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
248:
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
414:, 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.
327:
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.
187:
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.
323:), 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
276:
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
284:, 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
399:, 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
410:
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
1299:
742:
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and other essential municipal needs, were driven more by personal vanity, societal pressure, and political influence than the modern philanthropic impulse. Nevertheless, the
156:
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
253:
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
659:
1314:
884:
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".
521:
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
236:
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
232:(the major festival competitions). The archon, who began this process months in advance of a festival, were able easily to identify potential dramatic
1052:
Savage, Rover; Matteo
Sansone (November 1989). "Il Corago and the Staging of Early Opera: Four Chapters from an Anonymous Treatise circa 1630".
1343:
1334:
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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
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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
25:
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still standing in Athens erected in honor of the festival victory of his production in 335 BC. Ruins of a choragic monument to
475:
307:
production in ancient Athens: paying for costumes, rehearsals, the chorus, scenery or scene painting (including such items as
1362:
1258:
1239:
1220:
1159:
272:, though an honor, was a duty rather than a choice for wealthy citizens. This duty was one among many built into the state
588:
699:
Kaiser, Brooks A. (June 2007). "The
Athenian Trierarchy: Mechanism Design for the Private Provision of Public Goods".
479:
608:
320:
304:
149:
56:
471:
438:
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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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144:
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was revived briefly. It was known in
Italian as "corago", and combined the roles of impresario and director.
1190:
1094:
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and the tribes of
Athenian citizens from among the Athenian citizens of great wealth. Service as a
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343:(Χοροδιδάσκαλος, often shortened to διδάσκαλος), often the playwright, to train the chorus. The
509:, 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
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565:) rather than the more usual Greek form "χορηγός" (choregos). The later forms of the word in
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1026:
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893:
858:
773:
708:
501:
197:
84:
936:
De Cou, Herbert F. (1893). "The Frieze of the Choragic Monument of Lysikrates at Athens".
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80:
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had three choices. He could accept the nomination and the duty. Through a process called
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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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The Athenian Institution of the Khoregia: The Chorus, The City and The Stage
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315:
229:
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Dinsmoor, W.B. (October–December 1910). "The Choragic Monument of Nicias".
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225:
173:
33:
1087:
Kennedy, Joyce; Kennedy, Michael; Rutherford-Johnson, Tim, eds. (2012).
810:
or teacher, instructing the other principal actors. See Brockett, p. 18.
240:, an individual had to be an Athenian citizen and possess great wealth.
1073:
938:
The American Journal of Archaeology and of the History of the Fine Arts
886:
The American Journal of Archaeology and of the History of the Fine Arts
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663:. Vol. 6 (11th ed.). Cambridge University Press. p. 269.
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143:, though an honor, was a duty for wealthy citizens and was part of the
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The Metropolitan Museum of Art's Review of Theatre in Ancient Greece
612:, September 2013. Oxford University Press. Retrieved 9 November 2013
371:
Choragic Monument of Lysicrates near the Acropolis in Athens, Greece
984:
949:
897:
862:
777:
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Foley, Helene (January 2003). "Choral Identity in Greek Tragedy".
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177:
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37:
24:
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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
528:
In 1626, the position of an assistant professor of music at the
41:
652:
1017:
Miller, Eugene F. (2006). "Philanthropy and Cosmopolitanism".
466:, a rare exception to the qualification of wealth, served as
180:, among others. Monuments were built in honor of victorious
849:
Capps, Edward (1896). "The Dramatic Synchoregia at Athens".
569:(choragus) and Italian (corago) followed the Attic spelling.
444:(named for the Phoenician women who formed the chorus), and
741:
Smith, William; Wayte, William; Marindin, G.E. Ed. (1890).
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from the 5th-century BC were discovered in Athens in 1852.
1320:
The British Museum's Exploration of Ancient Greek Theatre
474:. Choregos Lysicrates is remembered today because of the
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acted on behalf of his tribe, which collectively won the
303:
Choregoi were responsible for supporting many aspects of
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for a successful performance. Gradually the sponsoring
83:: χορός "chorus" + ἡγεῖσθαι "to lead") was a wealthy
16:"Choragus" redirects here. For the insect genus, see
1154:. Harmondsworth, Middlesex, UK; New York: Penguin.
152:), special effects and most of the musicians. The
1208:
216:for the tragedies, while the tribes supplied five
113:, with the accepted plurals being the Latin forms
1330:Ancient Greek Dramatic Festivals and Competitions
1173:(Foundation ed.). Boston: Allyn and Bacon.
749:. perseus.tufts.edu. Retrieved 17 November 2013.
470:for a boys chorus supported by the patronage of
164:. Several notable political figures served as
105:. Modern Anglicized forms of the word include
1234:. Cambridge, UK: Cambridge University Press.
1169:Brockett, Oscar G; Hildy, Franklin J (2003).
8:
1335:"Defence against a Charge of Taking Bribes"
1304:A Dictionary of Greek and Roman Antiquities
1119:"Emeritus Professor Stephen Darlington MBE"
747:A Dictionary of Greek and Roman Antiquities
212:of Athenian citizens. The archon appointed
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160:. Such victories carried prestige for the
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561:The Attic and Doric form was "χοραγός" (
349:Oxford Dictionary of the Classical World
87:citizen who assumed the public duty, or
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129:is synonymous with the word "grantor".
91:, of financing the preparation for the
1315:Theatre & Drama in Ancient Greece
1188:Liddell, Henry; Robert Scott (1888).
599:
597:
7:
1251:Gender and Politics in Greek Tragedy
51:Auteas and Philoxenides (313–312 BC)
1253:. New York: Peter Lang Publishing.
689:Wilson, pp. 53–61, 113 and 198–213
403:could lead to social humiliation.
14:
1211:Oxford Dictionary of Modern Greek
1194:. New York: Harper and Brothers.
851:The American Journal of Philology
359:paying only part of the expense.
832:, Oxford University Press, 2007
828:Roberts, John (ed.) "chorēgia",
973:American Journal of Archaeology
701:The Journal of Economic History
540:, and the title has continued.
1090:The Oxford Dictionary of Music
319:), props (including elaborate
1:
1310:Philanthropy in ancient times
220:for the comedies as well as
1349:at 6.11 (perseus.tufts.edu)
1340:at 21.1 (perseus.tufts.edu)
1215:. Oxford: Clarendon Press.
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1373:Taxation in ancient Athens
1150:(1984). P J Rhodes (ed.).
192:Nomination and appointment
15:
1249:Zelenak, Michael (1998).
1152:The Athenian Constitution
1066:10.1093/earlyj/xvii.4.495
713:10.1017/s0022050707000162
609:Oxford English Dictionary
505:with the use of the word
288:and use the procedure of
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57:theatre of ancient Greece
472:Dionysius II of Syracuse
1368:Ancient Athenian titles
1191:A Greek-English Lexicon
1095:Oxford University Press
1056:. The Baroque Stage I.
660:Encyclopædia Britannica
292:to resolve the matter.
257:(or "Maiden-songs") of
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1171:History of the Theatre
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363:Prizes and recognition
204:were appointed by the
135:were appointed by the
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1363:Ancient Greek theatre
1279:Greek Tragic Theatre.
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486:Philanthropic context
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544:Notes and references
530:University of Oxford
517:17th-century revival
513:, and philanthropy.
261:, a poet of archaic
1207:Pring, J T (1982).
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1344:"On the Choreutes"
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1357:Categories
1300:"Choragus"
1275:Rehm, Rush
1260:0820440604
1241:0521542138
1222:0198641370
1161:0140444319
1130:2022-02-10
808:didaskalos
743:"Choragus"
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32:of seated
1148:Aristotle
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729:155038107
591:, p. 1668
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68:choregoi'
1347:Antiphon
1277:. 1992.
1200:79840762
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563:choragos
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511:choregoi
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270:choregos
251:choregos
246:choruses
242:Choregoi
238:choregos
234:choregoi
226:Dionysia
224:for the
222:choregoi
218:choregoi
214:choregoi
208:and the
202:choregoi
198:Athenian
182:choregoi
174:Pericles
166:choregoi
162:choregos
158:choregos
154:choregos
141:choregos
133:Choregoi
111:choregus
107:choragus
85:Athenian
62:choregos
49:choregoi
34:Dionysus
1141:Sources
1074:3127018
721:4501159
310:mechane
305:theatre
290:skepsis
282:skepsis
127:χορηγός
119:choragi
115:choregi
77:χορηγός
55:In the
1338:Lysias
1306:(1890)
1285:
1257:
1238:
1219:
1198:
1177:
1158:
1101:
1072:
1037:
999:
993:497149
991:
958:495920
956:
912:
906:495931
904:
871:288240
869:
836:
792:
784:
727:
719:
480:Nicias
263:Sparta
259:Alkman
210:tribes
206:archon
137:archon
93:chorus
59:, the
45:Aixone
30:Relief
1070:JSTOR
1035:S2CID
997:S2CID
989:JSTOR
954:JSTOR
910:S2CID
902:JSTOR
867:JSTOR
790:S2CID
782:JSTOR
725:S2CID
717:JSTOR
567:Latin
549:Notes
464:Plato
385:kudos
321:masks
178:Plato
150:masks
121:. In
98:polis
73:Greek
65:(pl.
38:satyr
1283:ISBN
1255:ISBN
1236:ISBN
1217:ISBN
1196:OCLC
1175:ISBN
1156:ISBN
1099:ISBN
834:ISBN
452:for
437:for
433:was
331:The
313:and
244:for
228:and
176:and
117:and
109:and
42:deme
36:and
1302:in
1062:doi
1027:doi
981:doi
946:doi
894:doi
859:doi
774:doi
709:doi
458:by
101:or
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1121:.
1097:.
1068:.
1058:17
1033:.
1023:15
1021:.
1009:^
995:.
987:.
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975:.
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888:.
865:.
855:17
853:.
788:.
780:.
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768:.
754:^
745:.
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705:67
703:.
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640:^
617:^
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75::
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20:.
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