In Lo real (2001) by Belén Gopegui, a novel treating of relations between an
individual and the capitalist society, a special character is revived, namely the chorus.
While confronting the role it plays in the Spanish novel under analysis using the theories
of the functions of the chorus as a constitutent of ancient tragedy, we answer the question
whether the writer’s act of introducing this collective character to a comtemporary prose
work should be treated as a parody or as playing with a commonly known literary convention,
aimed to achieve specific objectives. The discussion touches on, for instance, the
concept of the chorus as an interlude, a rightful participant in the plot, ethical authority,
a literary “extension” of the author, an ideal reader etc.