There are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.

　　Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community did not participate, a clear division was usually made between the acting area and the auditorium. In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect -- success in hunt or battle, the coming rain, the revival of the Sun -- as an actor might. Eventually such dramatic representations were separated from religious activities.

　　Another theory traces the theaters origin from the human interest in storytelling. According to this view tales are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.

　　戲劇的起源

　　關(guān)于古希臘戲劇的起源存在著多種理論，其中一個(gè)最普遍為人接受的理論假設(shè)認(rèn)為戲劇從儀式演化而來。 這個(gè)觀點(diǎn)是這樣進(jìn)行論證的：一開始，人類把世界上的自然力量，甚至季節(jié)的變化都看成是不可預(yù)料的。 他們?cè)噲D通過各種方式去控制這些未知的、令人恐懼的力量。 那些似乎帶來了滿意結(jié)果的手段就被保留下來并且重復(fù)直到這些手段固化為不變的儀式，最后產(chǎn)生了能夠解釋或者掩蓋這些儀式神秘性的故事。 隨著時(shí)間的推移，一些儀式被廢棄了，但這些后來被稱作神話的故事流傳下來并且為藝術(shù)和戲劇提供了素材。 認(rèn)為戲劇從儀式演化而來的人們還認(rèn)為那些儀式包含了戲劇的基本因素，因?yàn)橐魳贰⑽璧浮⒚婢吆头b幾乎經(jīng)常被使用，而且，必須為演出提供一個(gè)合適的地點(diǎn);如果不是整個(gè)社區(qū)共同參加演出，經(jīng)常在演出區(qū)和觀眾席之間劃分出明顯的分界。 另外，儀式中還有演員，而且宗教領(lǐng)袖通常承擔(dān)演出任務(wù)，因?yàn)樵趦x式的執(zhí)行中避免錯(cuò)誤的發(fā)生被認(rèn)為有相當(dāng)大的重要性;他們經(jīng)常帶著面具，穿著服裝象演員那樣扮演其它人、動(dòng)物或超自然的生靈，用動(dòng)作來表演以達(dá)到所需要的效果，比如打獵的成功或戰(zhàn)斗的勝利、將至的雨、太陽(yáng)的復(fù)活。 最后這些戲劇性的表演從宗教活動(dòng)中分離了出來。 另一個(gè)追溯戲劇起源的理論認(rèn)為它來自人們對(duì)敘述故事的興趣。 根據(jù)這個(gè)觀點(diǎn)，故事是逐漸豐富起來的。 首先通過一個(gè)講解人來運(yùn)用模仿、表演和對(duì)話，然后再由不同的人扮演各自的角色;另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的和體操式的那一類，或者是對(duì)動(dòng)物動(dòng)作和聲音的模仿。

　　There are many theories about the beginning of drama in ancient Greece. The one most widely accepted today is based on the assumption that drama evolved from ritual. The argument for this view goes as follows. In the beginning, human beings viewed the natural forces of the world - even the seasonal changes - as unpredictable, and they sought through various means to control these unknown and feared powers. Those measures which appeared to bring the desired results were then retained and repeated until they hardened into fixed rituals. Eventually stories arose which explained or veiled the mysteries of the rites. As time passed some rituals were abandoned, but the stories, later called myths, persisted and provided material for art and drama.

　　Those who believe that drama evolved out of ritual also argue that those rites contained the seed of theater because music, dance, masks, and costumes were almost always used. Furthermore, a suitable site had to be provided for performances and when the entire community did not participate, a clear division was usually made between the acting area and the auditorium. In addition, there were performers, and, since considerable importance was attached to avoiding mistakes in the enactment of rites, religious leaders usually assumed that task. Wearing masks and costumes, they often impersonated other people, animals, or supernatural beings, and mimed the desired effect -- success in hunt or battle, the coming rain, the revival of the Sun -- as an actor might. Eventually such dramatic representations were separated from religious activities.

　　Another theory traces the theaters origin from the human interest in storytelling. According to this view tales are gradually elaborated, at first through the use of impersonation, action, and dialogue by a narrator and then through the assumption of each of the roles by a different person. A closely related theory traces theater to those dances that are primarily rhythmical and gymnastic or that are imitations of animal movements and sounds.

　　戲劇的起源

　　關(guān)于古希臘戲劇的起源存在著多種理論，其中一個(gè)最普遍為人接受的理論假設(shè)認(rèn)為戲劇從儀式演化而來。 這個(gè)觀點(diǎn)是這樣進(jìn)行論證的：一開始，人類把世界上的自然力量，甚至季節(jié)的變化都看成是不可預(yù)料的。 他們?cè)噲D通過各種方式去控制這些未知的、令人恐懼的力量。 那些似乎帶來了滿意結(jié)果的手段就被保留下來并且重復(fù)直到這些手段固化為不變的儀式，最后產(chǎn)生了能夠解釋或者掩蓋這些儀式神秘性的故事。 隨著時(shí)間的推移，一些儀式被廢棄了，但這些后來被稱作神話的故事流傳下來并且為藝術(shù)和戲劇提供了素材。 認(rèn)為戲劇從儀式演化而來的人們還認(rèn)為那些儀式包含了戲劇的基本因素，因?yàn)橐魳贰⑽璧浮⒚婢吆头b幾乎經(jīng)常被使用，而且，必須為演出提供一個(gè)合適的地點(diǎn);如果不是整個(gè)社區(qū)共同參加演出，經(jīng)常在演出區(qū)和觀眾席之間劃分出明顯的分界。 另外，儀式中還有演員，而且宗教領(lǐng)袖通常承擔(dān)演出任務(wù)，因?yàn)樵趦x式的執(zhí)行中避免錯(cuò)誤的發(fā)生被認(rèn)為有相當(dāng)大的重要性;他們經(jīng)常帶著面具，穿著服裝象演員那樣扮演其它人、動(dòng)物或超自然的生靈，用動(dòng)作來表演以達(dá)到所需要的效果，比如打獵的成功或戰(zhàn)斗的勝利、將至的雨、太陽(yáng)的復(fù)活。 最后這些戲劇性的表演從宗教活動(dòng)中分離了出來。 另一個(gè)追溯戲劇起源的理論認(rèn)為它來自人們對(duì)敘述故事的興趣。 根據(jù)這個(gè)觀點(diǎn)，故事是逐漸豐富起來的。 首先通過一個(gè)講解人來運(yùn)用模仿、表演和對(duì)話，然后再由不同的人扮演各自的角色;另一個(gè)與之緊密相關(guān)的理論將戲劇的起源追溯至舞蹈，這些舞蹈大體上是有節(jié)奏感的和體操式的那一類，或者是對(duì)動(dòng)物動(dòng)作和聲音的模仿。