Dionysia in the context of "Dionysos"

A theatrical culture flourished in ancient Greece from 700 BC. At its centre was the city-state of Athens, which became a significant cultural, political, and religious place during this period, and the theatre was institutionalised there as part of a festival called the Dionysia, which honoured the god Dionysus. Tragedy (late 500 BC), comedy (490 BC), and the satyr play were the three dramatic genres emerged there. Athens exported the festival to its numerous colonies. Modern Western theatre comes, in large measure, from the theatre of ancient Greece, from which it borrows technical terminology, classification into genres, and many of its themes, stock characters, and plot elements.

The satyr play is a form of Attic theatre performance related to both comedy and tragedy. It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysian festival following the performance of a group of three tragedies. The satyr play's mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of satyrs, with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendo, and references to breasts, farting, erections, and other terms that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysiac ritual, but also generally accepted as the most appropriate and satisfying conclusion to the city’s most complex and prestigious cultural event of the year."

The satyric drama may be traced back to Pratinas of Phlius, c. 500 BC. After settling in Athens, he probably adapted the dithyramb, customary in his native home, with its chorus of satyrs, to complement the form of tragedy which had been recently invented in Athens. It met with approval and was further developed by his son Aristias, by Choerilus, by Aeschylus, and others.

The Clouds (Ancient Greek: Νεφέλαι, Nephelai) is a Greek comedy play written by the playwright Aristophanes. A lampooning of intellectual fashions in classical Athens, it was originally produced at the City Dionysia in 423 BC and was not as well received as the author had hoped, coming last of the three plays competing at the festival that year. It was revised between 420 and 417 BC and was thereafter circulated in manuscript form.

No copy of the original production survives, and scholarly analysis indicates that the revised version is an incomplete form of Old Comedy. Any missing text, however, is not obvious in translations and modern performances.

Antigone (/ænˈtɪɡəni/ ann-TIG-ə-nee; Ancient Greek: Ἀντιγόνη) is an Athenian tragedy written by Sophocles in either 442 or 440 BC and first performed at the Festival of Dionysus of the same year. It is thought to be the second-oldest surviving play of Sophocles, preceded by Ajax, which was written around the same period. The play is one of a triad of tragedies known as the three Theban plays, following Oedipus Rex and Oedipus at Colonus. Even though the events in Antigone occur last in the order of events depicted in the plays, Sophocles wrote Antigone first. The story expands on the Theban legend that predates it, and it picks up where Aeschylus' Seven Against Thebes ends. The play is named after the main protagonist Antigone.

After Oedipus' self-exile, his sons Eteocles and Polynices engaged in a civil war for the Theban throne, which resulted in both brothers dying while fighting each other. Oedipus' brother-in-law and new Theban ruler Creon ordered the public honoring of Eteocles and the public shaming of Thebes' traitor Polynices. The play follows the attempts of their sister Antigone to bury the body of Polynices, going against the decision of her uncle Creon and placing her relationship with her brother above human laws.

A tetralogy (from Greek τετρα- tetra-, "four" and -λογία -logia, "discourse") is a compound work that is made up of four distinct works. The name comes from the Attic theater, in which a tetralogy was a group of three tragedies followed by a satyr play, all by one author, to be played in one sitting at the Dionysia as part of a competition.

Ptolemy XII Neos Dionysus (Ancient Greek: Πτολεμαῖος Νέος Διόνυσος, romanized: Ptolemaios Neos Dionysos, lit. 'Ptolemy the new Dionysus' c. 117 – 51 BC) was a king of the Ptolemaic Kingdom of Egypt who ruled from 80 to 58 BC and then again from 55 BC until his death in 51 BC. He was commonly known as Auletes (Αὐλητής, "the Flautist"), referring to his love of playing the flute in Dionysian festivals. A member of the Ptolemaic dynasty, he was a descendant of its founder Ptolemy I, a Macedonian Greek general and companion of Alexander the Great.

Ptolemy XII was an illegitimate son of Ptolemy IX by an uncertain mother. In 116 BC, Ptolemy IX became co-regent with his mother, Cleopatra III. However, due to a civil war against his mother and his brother, Ptolemy X, he was exiled in 107 BC. Cleopatra III sent her grandsons to Kos in 103 BC. They were captured by Mithridates VI of Pontus probably in 88 BC. After the killing of his cousin Ptolemy XI, Ptolemy XII was recalled from Pontus and proclaimed pharaoh, while his brother, also named Ptolemy, was installed as king of Cyprus.

The cult of Dionysus consisted of devotees who involved themselves in forms of ecstatic worship in reverence of Dionysus. An ecstatic ritual performed by the cult included the orgeia, a forest rite involving ecstatic dance during the night. The Dionysia and Lenaia festivals in Athens were dedicated to Dionysus, as well as the phallic processions. These processions often featured villagers parading through the streets with large phallic representations. The cult of Dionysus traces back to at least Mycenaean Greece, since his name is found on Mycenean Linear B tablets as 𐀇𐀺𐀝𐀰 (di-wo-nu-so). However, many view Thrace and Phrygia as the birthplace of Dionysus, and therefore the concepts and rites attributed to his worship. Dionysian worship was especially fervent in Thrace and parts of Greece that were previously inhabited by Thracians, such as Phocis and Boeotia. Initiates worshipped him in the Dionysian Mysteries, which were comparable to and linked with the Orphic Mysteries, and may have influenced Gnosticism. It is possible that water divination was an important aspect of worship within the cult.

The cult was strongly associated with satyrs, centaurs, and sileni, and its characteristic symbols were the bull, the serpent, tigers/leopards, ivy, and wine. One reason for Dionysus's association with the silent is that Silenus, a chief figure among them, was said to have taught Dionysus the art of wine-making. Dionysus himself is often shown riding a leopard, wearing a leopard skin, or in a chariot drawn by panthers, and is also recognized by his iconic thyrsus. Besides the grapevine and its clashing alter-ego, the poisonous ivy plant, both sacred to him, the fig was another one of his accredited symbols. Additionally, the pinecone that topped his thyrsus linked him to Cybele, an Anatolian goddess. The Dionysian effect the god had on women also bores a resemblance to Krishna, an Indian god who enchanted female gopis with music to venture into the forest in the night.

Euphorion (Ancient Greek: Εὐφορίων, Euphoríōn, fl. 431 BC) was the son of the Greek tragedian Aeschylus, and himself an author of tragedies. He is known solely for his victory over Sophocles and Euripides in the Dionysia of 431 BC. According to the 10th century AD Suda, he won four victories by producing Aeschylus' plays, but it is suggested that this may have been a single victory with four plays.

No work bearing his name survives. He is purported by some to have been the author of Prometheus Bound—previously assumed to be the work of his father, to whom it was attributed at the Library of Alexandria,—for several reasons, chiefly that the portrayal of Zeus in Prometheus Bound is far less reverent than in other works attributed to Aeschylus, and that references to the play appear in the plays of the comic Aristophanes. This has led historians to date it as late as 415 BC, long after Aeschylus's death. If Euphorion wrote Prometheus Bound, then there may be as many as five ancient Greek tragedians with one or more fully surviving plays: Aeschylus, Euphorion, Sophocles, Euripides, and possibly the author of the tragedy Rhesus if its attribution to Euripides is incorrect.

The Oresteia (Ancient Greek: Ὀρέστεια) is a trilogy of Greek tragedies written by Aeschylus in the 5th century BC, concerning the murder of Agamemnon by Clytemnestra, the murder of Clytemnestra by Orestes, the trial of Orestes, the end of the curse on the House of Atreus, and the pacification of the Furies (also called Erinyes or Eumenides).

The Oresteia trilogy consists of three plays: Agamemnon, The Libation Bearers, and The Eumenides. It shows how the Greek gods interacted with the characters and influenced their decisions pertaining to events and disputes. The only extant example of an ancient Greek theatre trilogy, the Oresteia won first prize at the Dionysia festival in 458 BC. The principal themes of the trilogy include the contrast between revenge and justice, as well as the transition from personal vendetta to organized litigation. Oresteia originally included a satyr play, Proteus (Πρωτεύς), following the tragic trilogy, but all except a single line of Proteus has been lost.