The genesis of classical drama was not symptomatic. An euphoria of charismatic and talented protagonists showed fantastic scenes of historic episodes. The prologue, the theme and the epilogue, comprised the trilogy of drama while synthesis, analysis and synopsis characterised the phraseology of the text.
The syntax and phraseology used by scholars, academics and philosophers in their rhetoric, had many grammatical idioms and idiosyncrasies. The protagonists periodically used pseudonyms. Anonymity was a syndrome that characterised the theatrical atmosphere. The panoramic fantasy, the mystique, the melody, the aesthetics, the use of the cosmetic epithets are characteristics of drama.
Even through the theatres were physically gigantic, there was no need for microphones because the architecture and the acoustics would echo isometrically and crystal – clear.
Many epistemologists of physics, aerodynamics, acoustics, electronics, electromagnetics, cannot analyse – explain the ideal and isometric acoustics of Hellenic theatres even today. There were many categories of drama: classical drama, melodrama, satiric, epic, comedy, etc.
The syndrome of xenophobia or dyslexia was overcome by the pathos of the actors who practised methodically and emphatically. Acrobatics were also euphoric. There was a plethora of anecdotal themes, with which the acrobats would electrify the ecstatic audience with scenes from mythical and historical episodes. Some theatrical episodes were characterised as scandalous and blasphemous.
Pornography, bigamy, homophilia, nymphomania, polyandry, polygamy and heterosexuality were dramatised in a pedagogical way so the mysticism about them would not cause phobia or anathema or taken as anomaly but through logic, dialogue and analysis, skepticism and the pathetic or cryptic mystery behind them would be dispelled.
It is historically and chronologically proven that theatre emphasised paedagogy, idealism and harmony. Paradoxically it also energized patriotism a phenomenon that symbolised ethnically character and phenomenal heroism.”
Analytical and absolutely austere critic
Θωμάς Γ. Ηλιόπουλος