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While ancient Greek theatre went through a number of incarnations there are a number of factors that remained consistent or thematic throughout its reign. In terms of staging, generally large theatrical spaces were constructed as the audience numbered as much as fourteen thousand individuals (Freund 2000). Quite notably the acoustical dimensions of these ancient Greek stages had to be constructed in a way that carried sound extremely favorably, as this was a pivotal aspect of catering to the sizeable crowds. Indeed, it has been noted that the Greek acoustic systems in these stages is in line with state of the art acoustic systems in the contemporary environment. In terms of seating the first opening seats were wooden, and this was followed by stone seating for the majority of the theatre audience. Later in the development of the theatre a back wall was placed onto the stage to add dimension and various theatrical elements to the productions. This wall also allowed for costume changes behind the scenes. In terms of content, Greek theatre spanned a wide range of theatrical concepts. Aristotle famously outlined a number of these genres, detailing what constituted comedy from tragedy (Lesky 1965). Still, Ancient Greek theatre is perhaps most remembered for it seminal tragedies. Among the most notable, Sophocles and Aeschylus constructed tragic dramas that explored elements of the human condition in great depth and consideration. Today these theatrical productions continued to be studied and remembered for the continued insight they provide into life, as well their dramatic form of artistry. Considering the actors in the plays, it was a custom that only men in masks be admitted into the productions. It follows that there was not a star-system as one finds in the contemporary Hollywood or Broadway climate, but rather a string of actors that were at best remotely popular for their skill and dexterity. Still, all audiences watched the plays. While the nobility generally received privileged seating arrangements there was not a division between high and low culture or class in terms of who viewed the plays. One of the central aspects of these productions was the use of masks. The use of masks in these Greek productions was most likely a holdover from an earlier theatrical era. The tradition came such that all actors were adorned in masks throughout the production. The mask was so all-encompassing that there only existed holes for the face and head, in-effect covering the entire face of the actor as a means of obscuring their identity. This allowed for the greater emergence of the character the actor was playing to be seen. The lack of emotion in the masks and the obscuring of identity also functioned as means of allowing the audience to project onto the characters their own unconscious emotions and identity, in-effect making the theatrical productions that much more engrossing and interactive (Harsh 1944). There were unique masks created for particular characters and emotions which also contributed to the play through the multi-varied nature of the production. In terms of costumes there were a number of unique elements that are worth considering. The actors in tragic character positions were adorned with boots referred to as cothumuses. These elements give the actors extra height and elevation in comparison to the other players.

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