An Historical Outline of the Ancient Theatre A lecture delivered at the invitation of Sydney University Dramatic Society at Sydney University no the 20th September, 1950. By JOHN KARDOSS IN N dealing with the origin and development of the ancient theatre, we should observe, by way of introduction, that this is but a modest attempt to give an historical outline, by using all the available authentic sources for the purpose. Theories are innumerable concerning this subject, and leading modern scholars do not agree about important aspects, but a general description of ancient theatres may be given in broad outline. The different theatrical cultures are dealt with in chronological succession, and by no means exhaustively, in the definite framework of one lecture. As far as possible we shall discuss the ancient theatres, not in their theoretical and scholastic isolation, but in their living interplay as the simultaneous movements of different great cultural groups. Although the following statement is controversial, we still consider that the depth and height of a culture are usually measurable by the development of its arts. Societies in possession of ancient traditions and an instinct of culture always show sympathy for the arts. The arts affect the masses and the masses have their impact on the arts. Among the arts it was the theatre that made the greatest impression on the masses during ancient times. Speaking of ancient theatres, people think mostly of the Greek theatre culture, which was the predecessor of all the theatres of modern Europe. The Greek theatre developed from the Dionysiac festival. and, according to Herodotus and modern writers who have studied this subject thoroughly, the festival had its inception in Egypt, where religious and dramatic texts were probably theatrically presented by the priests. The story of the Egyptian Dramas originated about 3200 B.C., but the content of the so-called Pyramid Texts would appear to indicate that it may date from 4000 B.C. The plot of the Pyramid Texts—which |