As Reyen, also Reyhen, the choirs are described in the baroque trauerspiel, which filled the act to the next act. Such Reyen had the task to carry the gloomy or serious content of the baroque dramas and thus could promote the catharsis of the audience. They were mostly written in Alexandrians, and there are also examples which are based on the Iambus or Trochae. In contrast to the Greek model, that is, the chorus in the ancient drama, which served as a companion of the plot, they are rather loosely linked to the action.
The term is the German translation of the Greek noun choros, which marked the choir in the ancient drama. This choir was originally a dance hall, but then became a name for the dancers themselves who sang at the same time, thus accompanying the action of the drama. The concept of “Reigen” also emerges from the translation of this translation, which, however, is always related to dances.
The Reyen had to capture the atmosphere of the baroque work, but they could also make it clear to the audience and help with the understanding. As they stood between the files and thus filled the breaks, they were a form of the interlude (see Intermezzo). Sometimes, however, they were also replaced by interludes, which were mostly allegorical in nature.
Such Reyen are found in various dramas. They are, however, characteristic of the work of Joost van den Vondel (1587-1679), Andreas Gryphius (1616-1664), or Daniel Casper von Lohenstein (1635-1683).