All tragedies were originally composed for performance at a single event in the Athenian calendar - The Great Dionysia, a spring festival, a celebration in honour of the god Diónysos Eleuthereús ("Dionysus the Liberator") , one of the great gods of the earth [the other was Demeter], held annually over 4 consecutive days at approximately the end of February. and beginning of March in a single competition, a time when the sailing season had just opened and trade and intercourse with far off lands around the Mediterranean was made possible after Winter. If Dionysos was a god about anything, he was the god of spectacle and entertainment. The Great Dionysia was perhaps the most important cultural festival in the Athenian calendar.
At a time somewhat later these plays and their playwrights became so famous that the best ones were re-performed not only in Athens but elsewhere in The Ancient Greek World, and became taught in schools, read and studied by philosophers like Aristotle.
The Great Dionysia was not just a theatrical spectacle: it was a musical one as well. Each tragedy featured, in addition to three actors, a chorus consisting of twelve or fifteen Athenian citizens accompanied by an instrumentalist, a player of a double-reed pipe called the aulos. Between intervals of speech and dialogue performed by the actors, the chorus would sing and dance for the audience.
The Great Dionysia was a festival which allowed Athens to demonstrate to its colonies, allies, members of its empire, trading partners that it was a huge cultural centre. It took place at the time of the re-opening of the sailing season, when ships could set sail from their harbours at the end of winter. The Great Dionysia allowed it to put on a huge show, a performance for the benefit of all these other peoples. Where the Olympics were Pan-Hellenic, the Great Dionysia was international.
Eric Csapo says "The Dionysia took place mid to late March, the beginning of Greek Spring. By popular reckoning the Dionysia marked the opening of the sailing season. Sailors, like farmers, used the stars as a guide: both the agricultural year and the sailing season began with the evening setting of the Pleiades (late March/early April) and ended with their morning setting (late October/early November): hence the ancient etymology of Ancient astronomers and mythographers liked to connect the Pleiades with Dionysus, stressing their corporate persona as a chorus and their location between the horns of Taurus (the bull)."
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The Greek Theatre and Festivals: Documentary Studies by Peter Wilson
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David Kawalko Roselli (1 June 2011). Theater of the People: Spectators and Society in Ancient Athens. University of Texas Press. ISBN 978-0-292-74477-6.
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Nothing to do with Dionysos? : Athenian drama in its social context - Internet Archive
Nothing to Do with Dionysos?: Athenian Drama in Its Social Context - Google Books
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Rural Dionysia - Wisdom of Hypatia
City Dionysia - Wisdom of Hypatia
Anthesteria - Wisdom of Hypatia
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