Archaeological educational exhibition What's all this about Dionysos ? Tragic theatre in antiquity

OPSIS 
Part of the tragedy (will be) the visual aspects of the action,
especially the appearance of the agents (actors).
Aristotle, Poetics, 1449b

The orchestra, the oldest part in the evolution of the theatre building, was destined for the chorus which was present throughout the performance. It was the central area where dancing and singing took place. At that time, the orchestra, usually a circular place, was just of beaten earth, which facilitated the rhythmic movements of the chorus. At the centre of the orchestra stood thymeli, an altar for the offerings to Dionysus.

The koilon, destined for the audience, occupied the largest part of the theatre building. Usually of semi-circular shape, it sloped on the hill-side, in an amphitheatric manner in front of the orchestra. During the earliest period, the spectators sat on roughly-made wooden stands but later, after the 5th century BC, the auditorium was wholly made of stone. A horizontal passage-way and a series of vertical staircases divided the auditorium into several sections.

Originally the skene, where the actors performed, was just a simple wooden hut on the edge of the orchestra, functioning as a background for the action and also as a storage space. Gradually this structure acquired a more specific architectural style bringing to mind the front view of an ancient public building.

Scenery (skenographia) in ancient Greek theatre had a simple and functional character. The spectacular and the stage realism were not of great importance. Therefore, the front view of the skene remained unchanged from one ploy to the other, while schematic movable painted panels were used to mark changes of landscape.

Mechanic equipment serving the action was also simple and functional. The enkyklema, a roll-out platform coming through the main door, served as a means of bringing in front of the eyes of the spectators the outcome of a brutal act that had taken place somewhere outside their immediate field of vision. The crane enabled the actors playing the roles of gods and heroes to appear in the sky, thus giving the impression of flying.

MASKS
According to the ancient tradition, Thespis puts make-up on and introduces masks made of linen cloth. However, masks are anterior to tragedy. It is most likely that Frinichus introduced female masks in the plays, while Aeschylus introduced the painted or the more dramatic ones.

COSTUMES
The costume of the tragic hero - protagonist, which stands out among the rest of the costumes, is often identified by experts with the costumes of heroes as they are reflected on Greek and South-ltalian vase - painting of the 4th and 5th century BC. The costume is composed of a very long cloak, the syrma, and a shorter knee-high piece of clothing on top. The cloak is usually long-sleeved with rich, embroidered ornamentation. Figures in fast motion such as warriors, hunters or Diana are dressed in knee-high ornamented outfits.

ACTORS
The word hypokritis means both the actor and the interpretor (Plato, Timeos 72 b). It is most likely that, initially, the playwrights were also undertaking the role of the actor. Later on, two or three actors were appointed. In the middle of the 5th century BC, those three actors were selected by the eponymous archon (senior magistrate) and were assigned by lot to the tragic playwrights. The actors were strictly male and were also playing the female roles which, consequently, must have been rather limited Another very important qualification, as far as the actors are concerned, must have been their vocal capacities, their experience in reciting texts of varied tonalities, their knowledge of music and movement.