Theatre of ancient Greece in the context of "Festival"

A tragedy is a genre of drama based on human suffering and, mainly, the terrible or sorrowful events that befall a main character or cast of characters. Traditionally, the intention of tragedy is to invoke an accompanying catharsis, or a "pain [that] awakens pleasure," for the audience. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity—"the Greeks and the Elizabethans, in one cultural form; Hellenes and Christians, in a common activity," as Raymond Williams puts it.

Originating in the theatre of ancient Greece 2500 years ago, where only a fraction of the works of Aeschylus, Sophocles and Euripides survive, as well as many fragments from other poets, and the later Roman tragedies of Seneca; through its singular articulations in the works of Shakespeare, Lope de Vega, Jean Racine, and Friedrich Schiller to the more recent naturalistic tragedy of Henrik Ibsen and August Strindberg; Nurul Momen's Nemesis' tragic vengeance & Samuel Beckett's modernist meditations on death, loss and suffering; Heiner Müller postmodernist reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change. A long line of philosophers—which includes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer, Kierkegaard, Nietzsche, Freud, Benjamin, Camus, Lacan, and Deleuze—have analysed, speculated upon, and criticised the genre.

Ancient Greek comedy (Ancient Greek: κωμῳδία, romanized: kōmōidía) was one of the final three principal dramatic forms in the theatre of classical Greece; the others being tragedy and the satyr play. Greek comedy was distinguished from tragedy by its happy endings and use of comically exaggerated character archetypes, the latter feature being the origin of the modern concept of the comedy. Athenian comedy is conventionally divided into three periods; Old Comedy survives today largely in the form of the eleven extant plays of Aristophanes; Middle Comedy is largely lost and preserved only in relatively short fragments by authors such as Athenaeus of Naucratis; New Comedy is known primarily from the substantial papyrus fragments of Menander. A burlesque dramatic form that blended tragic and comic elements, known as phlyax play or hilarotragedy, developed in the Greek colonies of Magna Graecia by the late 4th century BC.

The philosopher Aristotle wrote in his Poetics (c. 335 BC) that comedy is a representation of laughable people and involves some kind of blunder or ugliness which does not cause pain or disaster. C. A. Trypanis wrote that comedy is the last of the great species of poetry Greece gave to the world.

Classical Greece was a period of around 200 years (the 5th and 4th centuries BC) in Ancient Greece, marked by much of the eastern Aegean and northern regions of Greek culture (such as Ionia and Macedonia) gaining increased autonomy from the Persian Empire; the peak flourishing of democratic Athens; the First and Second Peloponnesian Wars; the Spartan and then Theban hegemonies; and the expansion of Macedonia under Philip II. Much of the early defining mathematics, science, artistic thought (architecture, sculpture), theatre, literature, philosophy, and politics of Western civilization derives from this period of Greek history, which had a powerful influence on the later Roman Empire. Part of the broader era of classical antiquity, the classical Greek era ended after Philip II's unification of most of the Greek world against the common enemy of the Persian Empire, which was conquered within 13 years during the wars of Alexander the Great, Philip's son.

In the context of the art, architecture, and culture of ancient Greece, the Classical period corresponds to most of the 5th and 4th centuries BC (the most common dates being the fall of the last Athenian tyrant in 510 BC to the death of Alexander the Great in 323 BC). The Classical period in this sense follows the Greek Dark Ages and Archaic period and is in turn succeeded by the Hellenistic period.

Theatre or theater is a collaborative form of performing art that uses live performers, usually actors, to present experiences of a real or imagined event before a live audience in a specific place, often a stage. The performers may communicate this experience to the audience through combinations of gesture, speech, song, music, and dance. It is the oldest form of drama, though live theatre has now been joined by modern recorded forms. Elements of art, such as painted scenery and stagecraft such as lighting are used to enhance the physicality, presence and immediacy of the experience. Places, normally buildings, where performances regularly take place are also called "theatres" (or "theaters"), as derived from the Ancient Greek θέατρον (théatron, "a place for viewing"), itself from θεάομαι (theáomai, "to see", "to watch", "to observe").

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. Theatre artist Patrice Pavis defines theatricality, theatrical language, stage writing and the specificity of theatre as synonymous expressions that differentiate theatre from the other performing arts, literature and the arts in general.

The Greco-Bactrian Kingdom (Greek: Βασιλεία τῆς Βακτριανῆς, romanized: Basileía tês Baktrianês, lit. 'Kingdom of Bactria') was a Greek kingdom during the Hellenistic period located in Central Asia and Afghanistan. The kingdom was founded by the Seleucid satrap Diodotus I Soter in about 256 BC, and continued to dominate Central Asia until its fall around 120 BC. At its peak the kingdom consisted of present-day Afghanistan, Tajikistan, Uzbekistan and Turkmenistan, and for a short time, small parts of Kazakhstan, Pakistan, India and Iran. An extension further east, with military campaigns and settlements, may have reached the borders of the Qin State in China by about 230 BC.

A Greek population was already present in Bactria by the 5th century BC. Alexander the Great had conquered the region by 327 BC, founding many cities, most of them named Alexandria, and further settling Macedonians and other Greeks. After the death of Alexander, control of Bactria passed on to his general Seleucus I Nicator. The fertility and the prosperity of the region led to the creation of the Greco-Bactrian kingdom under Diodotus by the early 3rd century BC, as a successor state of the Seleucid Empire. The Bactrian Greeks grew increasingly more powerful and invaded north-western India between 190 and 180 BC under king Demetrius, the son of Euthydemus. This invasion led to the creation of the Indo-Greek kingdom, which in turn was a successor to the Greco-Bactrian kingdom, and was subsequently ruled by the kings Pantaleon and Apollodotus I. Historical records indicate that many rich and prosperous cities were present in the kingdom, but only a few of them have been excavated, such as Ai-Khanoum and Bactra. The city of Ai-Khanoum, in north-eastern Afghanistan, had all the hallmarks of a true Hellenistic city with a Greek theater, gymnasium and some houses with colonnaded courtyards.

Byzantine literature is the Greek literature of the Middle Ages, whether written in the Byzantine Empire or outside its borders. It was marked by a linguistic diglossy; two distinct forms of Byzantine Greek were used, a scholarly dialect based on Attic Greek, and a vernacular based on Koine Greek. Most scholars consider 'literature' to include all medieval Greek texts, but some define it with specific constraints. Byzantine literature is the successor to Ancient Greek literature and forms the basis of Modern Greek literature, although it overlaps with both periods.

The tradition saw the competing influences of Hellenism, Christianity, and earlier in the empire's history, Paganism. There was a general flourishing of gnomai, hagiography, sermons, and particularly historiography, which became less individual-focused. Poetry was often limited to musical hymnal forms, or the more niche epigram tradition, while ancient dramas and epics became obsolete. The influential romantic epic Digenes Akritas is a major exception.

Music was almost universally present in ancient Greek society, from marriages, funerals, and religious ceremonies to theatre, folk music, and the ballad-like reciting of epic poetry. This played an integral role in the lives of ancient Greeks. There are some fragments of actual Greek musical notation, many literary references, depictions on ceramics and relevant archaeological remains, such that some things can be known—or reasonably surmised—about what the music sounded like, the general role of music in society, the economics of music, the importance of a professional caste of musicians, etc.

The word music comes from the Muses, the daughters of Zeus and patron goddesses of creative and intellectual endeavours.