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The hypothesis formulated in this article is based on a vast group of studies about the nature and function of Athenian drama that have arised after the performative turn. Nevertheless, my objective is to take this theory to another level, supposing the deliberated composition of a comprehensive and cross choral arrangement of the odes that shape a given tragedy. According to this proposal, Aeschylus, famous for composing “superodes”, organized its plays grounded in a sort of a circuit, a “ritual itinerary”, by means of which the odes warp the plot. To demonstrate the feasibility of my hypothesis, I analize as an example the well-balanced composition of Supplices’ first and last odes.

Metacoralidad, itinerarios rituales y “odas que traman” en las tragedias de Esquilo: el ejemplo de Suplicantes