The history of theatre can be traced back to the times of antiquity or, more precisely, to the legendary times of the Homeric Greece. In that times, the ritualistic games in honor of Dionysus appeared the predecessors of the initial forms of theatre. Some tome later, in the 5th century B.C., democratic Athens, which was considered as the most progressive state of the slaveholding world of that time, witnessed the bloom of the theatre of Ancient Greece (Csapo, Miller 105-114, 156-157).
The Roman theatre emerged much later, in the 3-2nd centuries B.C. The theatrical art of Ancient Rome quite clearly introduced the class features of the slaveholding society of that period. With the existing historical conditions, the tragic theatre lost its national character and heroic moods, with the comedy acquiring a satirical orientation. In the last century of Roman history, theatre simply did not exist, instead Rome witnessed merely primitive forms of lower-class myths and pompous spectacles that were called to divert people from the pressing issues of existence.
On the whole, ancient times left its heritage in the area of literature, architecture and art. All primary kinds of poetry, such as epos, lyrics and drama, emerged in Greece. Architecture, literature, sculpture and theatre became the subject matter of ancient authors. Furthermore, at a later time playwrights of many countries turned to the rich theatrical heritage that was left by ancient world (Csapo, Miller 80-101, 121-129). For instance, in the 80s of the 19th century there was staged Sophocles' play "Oedipus the King" in France (Rozik 118-129). Indeed, the foundations of theatrical art that were based in Greece would prove essential for many centuries ahead.
In its essence, theatricality is a notion that lives its own life. With the most reasonable grounds, the notion of theatricality is applicable to the specific phenomenon that is found always and everywhere, just like in the famous quote that all world is a stage, and the men and women are merely players (Fischer-Lichte, Riley 97, 151-152). So, the ability and disposition of people to affectation can be ascribed to the notion of theatricality, though it is not necessarily followed by some bad or sordid connotations.
The statements about the actually good and inevitable, and often useful and nice theatricality is interweaved in various relations, like those between children and parents, teachers and pupils, bosses and subordinates, are well grounded and just. In this connection, theatricality is an expedient human annex or, say, self-revision; the aspiration to correspondence to a norm available and obligatory for us.
In serious and scientific terms, this entire sphere is analyzed by modern social psychology, taking many respective names. What is important, however, is that despite its name, the idea of theatricality in its true and wide comprehension is by no means limited by the art of theatre. Moreover, these notions do not even intersect each other. This is mainly about not theatrical art, but rather about the universal and omnipresent disposition, about the specific peculiarity of people's lives, and about their relations between each other (Fischer-Lichte, Riley 148-150).
This form of theatricality bears many connotations with the notion of a game. In this case, a game is not some specific and special activity, such as sport games or gambling, with its strict boundaries, integral elements and indisputable rules. Again, a game is manifested throughout every aspect of our lives, whether it is a compelled, necessary, habitual, dictated or accepted one. Hence, the wide and essential comprehension of theatricality as a game should not be followed by any oppositions, since this comprehension relies upon real facts.
These facts, however, must be analyzed every time in order for them to be clarified. Still, a common observation is also justified. Life is diverse and varicolored. With that, life always entails this crucial element, the element of theatricality.
In the light of all the difficulties that are found by modern theatre, the hope of the idea of theatricality is not just unclear today. In point of fact, it blesses the groundless and aimless scenic anarchy, as well as the alleged expression. Therefore, only the theatre that has embedded and implemented its true nature in certain limits that are revealed to it is the ideal. Furthermore, this ideal cannot be forgotten by anyone who cares about sincere achievement of scenic art and who wants and have to separate the wheat from the chaff.
In the final analysis, the notions of theatre and theatricality stand inseparable from our lives (Fischer-Lichte, Riley 148-150). Indeed, these are the products of our mind, as well as the desire to play another role and escape in the worlds of illusions. At the same time, the positive influence of theatre on a person had been admitted as far as in the times of Aristotle who believed that due to the compassion towards actors a person can eradicate many problems found in himself. On entering a theatre, a viewer subconsciously places himself in another man's shoes who appears onstage. Hence, the main task of theatre is to understand the surrounding world and our inner self through the prism of theatrical performance (Rozik 7-12). The future of theatre, therefore, will always remain in the hands of truly sensitive people who are able to comprehend their own essence with the help of the instrument called theatre.
Works Cited
Csapo, Eric, and Margaret Christina. Miller. The Origins of Theater in Ancient Greece and Beyond: From Ritual to Drama. Cambridge: Cambridge UP, 2007. 80-101, 105-114, 121-129, 156-157. Print.
Fischer-Lichte, Erika, and Jo Riley. The Show and the Gaze of Theatre: A European Perspective. Iowa City: U of Iowa, 1997. 97, 148-150, 151-152. Print.
Rozik, Eli. Generating Theatre Meaning: A Theory and Methodology of Performance Analysis. Brighton: Sussex Academic, 2008. 7-12, 118-129. Print.
