Abstract

The vocabulary of seeing shows three types of “mediation” provided by the chorus between spectacle and spectators. As persona spectans, i. e. internal spectator, the chorus mirrors the figure of the spectator; as persona sentiens, it shows its own emotional response, which operates like instructions for use of tragic spectacle for spectators; as persona monstrans, the chorus focuses public attention on spectacle and involves it in the representation. These three choral modalities act as a catalyst of public emotional response and allow for a definition of ideal posture of tragic spectators.