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Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation. The word “tragedy” appears to have been used to describe different phenomena at different times. There is some dissent to the dithyrambic origins of tragedy, mostly based on the differences between the shapes of their choruses and styles of dancing. There is abundant evidence for tragoidia understood as “song for the prize goat”. No tragedies from the 6th century and only 32 of the more than a thousand that were performed in the 5th century have survived.
April at an annual state religious festival in honor of Dionysus. The presentations took the form of a contest between three playwrights, who presented their works on three successive days. The four plays sometimes featured linked stories. The Greek theatre was in the open air, on the side of a hill, and performances of a trilogy and satyr play probably lasted most of the day. Performances were apparently open to all citizens, including women, but evidence is scant. The theatre of Dionysus at Athens probably held around 12,000 people. The play as a whole was composed in various verse metres.
All actors were male and wore masks. This event was frequently a brutal murder of some sort, an act of violence which could not be effectively portrayed visually, but an action of which the other characters must see the effects in order for it to have meaning and emotional resonance. Europe, around the Mediterranean and even reached England. Seneca’s tragedies rework those of all three of the Athenian tragic playwrights whose work has survived. Greek versions in their long declamatory, narrative accounts of action, their obtrusive moralising, and their bombastic rhetoric. Though the gods rarely appear in these plays, ghosts and witches abound. Latin and Greek, preferred Seneca to Euripides.