<i>L'amebeo lirico-epirrematico nell'</i> Andromaca<i> di Euripide: struttura, metro e funzione drammatica</i>

Abstract

Euripides' Andromache has been considered a 'second rank' drama since ancient times. However it presents interesting innovations in the structure, in the staging and in the lyrical score. These innovations point out an avant-garde character of the play. Thus, the three lyrical-epirrhematic amoebaeons, from which the three scenic phases originate, are particularly interesting as they are correlated and each of them is based on the three protagonists of the tragic action (Andromache, Hermione and Peleus). The analysis of the structure, of the metrics and of the dramatic function of the three amoebaeons is proposed in order to highlight the different innovations used by Euripides in this specific section of the tragedy which transformed Andromache into a laboratory of theatrical experimentation. As everybody knows, the lyrical-epirrhematic amoebaeon represents a typology of dialogue, in which singing and recitative alternate according to various modalities, and therefore it represents a valid instrument expressing the various states of mind of the characters involved (actor/s - chorus/choryphaeus); the dramatic poet makes use of it to emphasize a situation of conflict or to give the scene more intense emotional effects, based on pathetikòn tò anomalés. In Andromache each amoebaeon is distinguished by a specific structure of composition and by particular metrical forms which contribute to define the various characters and their emotional condition. The structural and metric-rhythmic innovations are well harmonized with the dramatic needs of the scenic action. They highlight Euripides' continuous search in the field of the theatrical technique and his tendency to transform drama into melodrama, thanks to the importance given to the singing of the actor in highly pathetic scenes.