satyr play

The second lot will be in for the satyr play before you are through.

Even a fragment of music survives from a satyr play.

Another type of Ancient Greek theatre was the satyr play.

Sophocles wrote a satyr play, now almost entirely lost, called Momos.

Sophocles wrote a satyr play Cedalion, of which a few words survive.

At this time, satyr plays were presented alongside tragedies.

The third dramatic genre was the satyr play.

Satyr plays were an ancient Greek form of theatre, similar in spirit to burlesque.

The myth of the invention of music on which this satyr play is based has its charm.

This modern interpretation of an ancient Greek satyr play combines song, theater and dance.

Aeschylus wrote a satyr play about the abduction called Orithyia which has been lost.

Again, there was little Classical precedent, with the possible exception of Greek satyr plays.

Aristophanes developed his type of comedy from the earlier satyr plays, which were shamelessly obscene.

No contests for satyr plays, nor for the singing and dancing of dithyrambs, were included.

One complete satyr play from the 5th century survives, the Cyclops of Euripides.

The cycle is modelled after ancient Greek dramas that were presented as three tragedies and one satyr play.

A satyr play, ribald and coarse, suited the Walpurgis Night's activities.

Each playwright offered a tetralogy consisting of three tragedies and a concluding comic piece called a satyr play.

Each submitted three tragedies, plus a satyr play (a comic, burlesque version of a mythological subject).

Ancient Greece made satyr plays which parodied tragic plays.

Brockett also suggests the possibility that the satyr play was the first form of drama from which both tragedy and comedy gradually emerged.

The trilogy was originally a tradition of Ancient Greek theatre, where three plays and one satyr play would be played.

There is not enough evidence to determine whether the satyr play regularly drew on the same myths as those dramatized in the tragedies that preceded.

Cusack casts the productions as carnivalesque or an echo of ancient Greek satyr plays.

Phallic props were used for satyr plays, symbolizing fertility in honour of Dionysus.