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The satyr play is a form of Attica theatre performance related to both comedy and tragedy. It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysia following the performance of a group of three tragedies. The satyr play's mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of , with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendos, references to breasts, farting, erections, and other references that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysiac ritual, but also generally accepted as the most appropriate and satisfying conclusion to the city’s most complex and prestigious cultural event of the year."Shaw, Carl, A. Satyric Play; The Evolution of Greek Comedy and Satyr Drama. Oxford University Press. (2014). pp. 2–3. Griffith, Mark. Greek Satyr Play; Five Studies. California. pp. 14–16. Shaw (C. A.) "Satyric Play. The Evolution of Greek Comedy and Satyr Drama." The Classical Review, 65 (2014): 358–360. (Print). . DOI: 10.1017/S0009840X15001250.
The satyric drama may be traced back to Pratinas of Phlius, . After settling in Athens, he probably adapted the dithyramb, customary in his native home, with its Greek chorus of satyrs, to complement the form of tragedy which had been recently invented in Athens. It met with approval and was further developed by his son Aristias, by Choerilus, by Aeschylus, and others.
A. E. Haigh however maintained that the satyr play is a survival from “the primitive period of Bacchic worship”.Haigh (1907, 16) Haigh lists several examples of recorded entries to the City Dionysia: thus, in 472 BC Aeschylus won the first prize with Phineaus, The Persians, Glaucus and the satyr play Prometheus. Among Euripides’ entries, Haigh underlines Theristai (431 BC), Sisyphus (415 BC) and Alcestis which Euripides was allowed to present as a replacement of the traditional satyr play.Haigh (1907, 17) Much of the evidence and information found regarding satyr plays and their history has been located through vase paintings.
The mythological origins of the satyrs are closely linked to the advent of Dionysus into Hellenic culture. The satyrs and their female counterpart, the maenads, were followers of Dionysus, a “late-comer to Olympus and probably of Asiatic origin”.Lancelyn Green (1957, 9) According to Roger Lancelyn Green, the satyrs probably began as minor nature deities, while their designated leader Silenus originated as a water spirit, a maker of springs and fountains.Lancelyn Green (1957, 10) Silenus was already an attendant to Dionysus when the satyrs joined the god’s following, and was subsequently proclaimed their father.Lancelyn Green. (1957, 10) The satyrs characterised themselves by amorality, excessive drinking and the breaking down of traditional values and barriers. Eric Csapo and Margaret C. Miller further argue that satyrs have a strong connection with music and dance and consider them to be “archetypal musicians and dancers”,Csapo and Miller (2007, 21) thus linking them to Dionysiac processions and the origins of performance culture.Csapo and Miller (2007, 22)
The Great Dionysia went through a phase of change around the middle of the fourth century. This change brought with it a switch in the ways plays were performed. Plays were no longer performed in a completion/competition type setting. Satyrs were now performed outside of the Festival of Dionysus and were no longer subjected to the judgement among other plays. Satyrs and comedies became more relevant within the theatre community in the 430s. The newfound prevalence came after Morychides began to forbid fighting-related activities on the stage. Satyr plays did have some influence on other forms of performance as well; of the most noteworthy is Middle Comedy. This time period for comedy brought with it the humbling of gods and heroes; which was done through the domesticizing of these characters within the different performances. Middle Comedy took on many of the factors of satyr plays but adapted the performances to be what was desired by the public at that time. These plays have been said to be performed well into the Hellenistic and Roman eras.Victor Castellani, V “Ritual or Playful? On the Foundations of European Drama.” The European Legacy, 14 (2009): 621–631. (Print). DOI: 10.1080/10848770903128786.
A later representation can be seen on the Pronomos Vase, found in Naples. The goatish element has disappeared and the satyrs resemble the old Ionic Sileni who were horse deities. The performers are wearing horse tails and short pants with attached phallus, a symbol of Dionysiac worship.Haigh (1907, 294) Haigh claims that the Doric satyrs were the original performers in Attic tragedy and satiric drama, whereas the Ionic element was introduced at a later stage.
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