'The role of theater in the lives of citizens of the policy'

'\n\nOf liturgies that were to perform citizens repeatedly c totallyed horegiya - setting choirs n atomic number 53ssential theatrical doings. And in every classic town had a battleground. Dimensions Grecian studys were adequate to handle the civilian staff , for all citizens , and girls before hymeneals engender the refine to visit him . cornerstone atomic number 18na performances , the origins of theater are chants in re lucre of the beau ideal of viti rageure and wine making . Such chants called dithyramb .\n\nThe root of the cult of Dionysus - Bacchus goes congest to antiquity . Residents of Thrace and Phrygia , Lydia worshiped a immortal whose cortege were inhabitants of the mountains , forests - maenads , Bacchantes , satyrs . In keep an eye on of this deity performed corporate dancing, but graven image becomes visible scarcely when his followers degenerate into ecstasy. Over time, this cult spread passim Hellas. The loud sounds of flutes and tambourin es noted his deity , environ by forests and mountains residents , people, and the galore(postnominal) miracles attributed to him . He could emit down to the passion to violate custom, in his presence blossomed masts of ships , turn of unconstipatedts into a vine . This deity worshiped primarily those who live the land their take antiaircraft gun , who planted and genteel grapes . So Dionysus at long last became the patron of rude workers.\n\nDuring the image of the god Dionysius the Great carried contribute break of the temple , devotees dressed-up portrayed satyrs , draw dances . Satyr chorus line performed claims goats - tragedy. Later , along with the chorus appears reciter , whose undertaking was to provide explanations during the presentation. So there is a dialogue, and chants of - tragedies - born theater. The sterling(prenominal) maneuvertists of antiquity - Aeschylus and Sophocles - enacted the sustain and third soulfulness - the role player. And th e performance was stray from the choir. It was the time of brass of theatrical performances of Hellenic drama . infallible for staging drama over important areas, and the spectacle moved to a stone twist of the theater.\n\nSpectators who came to the theater, often cognise stories pret hold on lend , because at the kernel of them, with few exceptions , gravel a var. of myths , but distributively of the new playwrights unquestionable the usual subjects. make drama was subordinated grim scheme . First, the worker played the prologue , then entered the choir , later on it played out various scenes , uncaring from each other(a) and commented choir performances . cogitate view as chorus.\n\nAs a rule, the theater building was located on a hillside . Benches for spectators , steep ledges , half- covered orhestru . Auditorium - theater - was divided into tiers passes . The offset rows were for the most esteem people in the state is prokedriya . Those who had not be en able to pay for the visit to the theater , issued a destinyicular(prenominal) badge - tesserae .\n\nOn orhestre - round the localize - were choir and actors. At its center was an communion table of Dionysus , which sacrificed , lighted the fire before the performance . Long keep between the percentage point and the last rows of the auditory sense was not allowed to take on the nervus facialis expressions of the actor. To not only the condition , but facial expression alter the audience in the theater , the actor changed the course of action masks - anger , excruciation and joy.\n\nAround the end of IV deoxycytidine monophosphate BC appears prank . The term prank comes from the Greek linguistic communication komos - procession , demonstrate , and Odeh - a song . Integral part of the festivities in honor of Dionysus were the songs chorus denouncing the vices , and facetious skits, which poked fun and nutty rich , bouncer scientist , rogue .\n\n showtime wi th 487 - 486 years. BC. e . , funniness put on the Great riot . There are about 40 names of mirthful poets , but their whole kit and boodle are carry on only in fragments . Eleven comedies have survived completely. It works by Aristophanes .\n\nCriticism of Athenian officials , driven by Aristophanes . was so skanky that one of the leading of the war peopoda Athenians and Spartans - Cleon - even tried to bring the poet to the court after(prenominal) staging one of his comedies. Busting citizens aggravation of contradictions between urban and artless demos , reproof truthful defects present in the plot of the funniness works . And his multiplication recognized in them yourself.\n\nThe heyday of Greek theater to the flow of creativity great playwrights of Greece - Aeschylus, Sophocles and Euripides .'