Greek Theater and Psychodrama Theater

The cardinal elements of Classical drama and psychodrama architecture are much the same: a central circular arena for the actors at the core of the complex; a reciprocal circus of seats for the audience about that nexus; and a flexible scene-prop or apparatus, where higher authorities such as gods or parents may appear. These natural-seeming inventions, introduced by Classical drama, were often changed beyond recognition in other of its descendants during Antiquity and after the Renaissance. They reemerge largely intact in psychodrama architecture.

There are, however, essential differences between the theaters for psychodrama and Classical drama. Most important, the round orchestra-like stage of psychodrama is elevated several steps above the level of the seated audience, and the auditorium and proscenium devices are smaller and more flexible. Every element in a spare and vital architecture is telling, and these differences reflect changes in function that fundamentally distinguish the ancient and modern dramatic processes. The raised and inflated circular stage of psychodrama physically expresses an extension of and complement to norms developed in Classical theater.

In a superbly measured sweep of crystalline clarity, the Classical auditorium centers about and funnels down toward the orchestra, the ringnucleus for the play. The adult citizens, the polis-community, dominated it from above while comfortably seated, and precisely focused upon sacro-political dramas designed to enhance their self esteem and integrate the social fabric of their lives. The architecture reinforced the function of the drama by ordering and supporting the community within harmonies of geometric perfection; this artful universe served to concentrate and resonate the powerful and often taboo material of the drama. The play was acted out below by masked personae, anonymous actors safely hidden within archetypal roles of gods and heroes known to all Greeks. Initially, the actors were little dist