Ancient Egyptian Theater & its Influence on Greece

Judah Norman

Morgan Brooks

Theater History

03 December 2021

Ancient Egyptian Theater and its Influence on Greece

The arts of theater and storytelling have existed since the beginning of human civilization. Whether it be around a fire or on a grand stage in front of an audience, humankind constantly develops new ways to not only tell a tale, but also put on a show. Ancient Greek theater is widely accepted as the foundation and earliest form of theater as we know it. Granted, the Greeks have a broad history of drama and most of the customs and principles used back then are still implemented in modern productions. However, most people remain unaware that although Ancient Greece was an immensely innovative nation and while it has long been believed that they were the pioneers of theater, deeper research suggests that they received most of their inspiration from Egypt, which means that the earliest form of theater is from Ancient Egypt. Despite its early contributions to the roots of dramatic performance, Ancient Egyptian theater is not a well-known topic in the entertainment world. In fact, most subjects regarding Black and African history overall are seldom taught in a classroom setting and are often either hidden, whitewashed, erased, or destroyed, leaving educational curriculums to mostly surround European and Asian studies. Any other information regarding the matter unfortunately requires individual research in turn. A plethora of African civilizations, both ancient and modern, in fact have extensive and unique histories in theater and the arts. Ancient Egypt especially has played a pivotal role in influencing Greek theater and studying this civilization provides a heightened sense of adoration and reverence for theater in general.

“Recent studies revealed that Ancient Egyptians were the first civilization to ever perform shows publicly...” according to See.news. Song, dance, instrumental music, pantomime, dialogue, and storytelling were common and important theatrical vehicles during the Pharaonic era. Ancient Egyptians also had a strong respect for the arts. Martin Banham and Ahmed Zaki describe in A History of Theater in Africa all the separate ways in which art and performance were seen as necessary and sacred. To dance meant to “rejoice” and “Music was said to delight the gods, cheer men’s hearts, soothe women in childbirth and drive away evil” (Banham & Zaki 16-17). Some instruments and musical elements included the sistrum or bead rattles, harp, lute, lyre, trumpet, flute, double pipes/clarinet, drums, round or rectangular tambourines, magical clappers made of wood or ivory, choirs, clicking fingers, and clapping hands (Banham & Zaki 17). The fact that dramas of Ancient Egypt were more religious, sacred, did not conform to components of western European theater, and “...had no words equivalent to the English words ‘theater,’ ‘actor,’ or ‘stage,’ leads many scholars to believe that Egypt had no theater...” (encyclopedia.com). However, the truth is that Egypt still possessed a distinct and valid theatrical style although it was a little different from what we know stage performance to be by neoclassical principles. 

Encyclopedia.com further explains the various aspects of Pharaonic theater. Mainly, “...it did not serve as an independent form of entertainment. Instead, it functioned within religious rituals as either a teaching method or as an offering to the gods,” which has similarities to both Japanese Noh theater and some elements of Ancient Greek theater (encyclopedia.com). The plot was also always predictable and usually a familiar annual ritual to be performed. For example, the Abydos Passion Play was typically staged in the city of Abydos during the annual Khoiak festival and “...commemorated the mythical death and resurrection of Osiris, god of the afterlife...” (Sikes 3). Another example would be Ancient Egyptian satires, which were bawdy, comical skits with dramatic dialogue that dealt with local and obnoxious myths about the gods or the pharaohs (faculty.umb.edu). Encyclopedia.com further states that “Because theater was not separate from the institution of religion in Egypt, there were no professional actors or acting troupes.” Instead, priests and religious class members performed for the pharaoh and impersonated different gods either by using statues or masks during ceremonies and festivals. Priestesses mimed goddesses such as Isis and Nephthys, meaning that both men and women performed together on stage. Additional characters were sometimes played by civilians during the middle kingdom. The actions in plays were described rather than reenacted since statues and masks were sometimes used and they could not move much. Finally, rather than using a stage or theater structure specifically for performances, shows were usually presented inside the temple in numerous places such as “...on the temple lake within the sanctuary, and at specific stations on the processional way to different temple locations” (encyclopedia.com).

Egypt’s great society attracted many individuals from around the ancient world. Greeks often ventured to and from Egypt as traders, merchants, tourists, and pilgrims (Banham & Zaki 18). Americantheatre.org states that “The various legends of ancient Egypt also provided an inspiration for Greek theatre,” which started during Graeco-Roman Egypt in the city of Alexandria (see.news). The theater of Egypt and Greece therefore share various similarities. Shows were religious based, performed at festivals, sometimes satirical, and more intellectual than entertaining. Masks were the main prop used and because the arts were treasured in both societies, actors were respected civilians. Of course, there were discernible differences between Greek and Egyptian theater. In Egypt, priests and religious leaders were the main actors, actions were described rather than reenacted, women were welcomed into the theater, plays were repeated, traditional, and presented at temples instead of theaters. Contrarily, in Greece, new, innovative works were common and performed in purpose-built theaters, the actions were seen on stage, and theater was believed to be for everyone...except women, who were disallowed from the theater during the Graeco-Roman era and only men were permitted on stage (faculty.umb.edu).

Even though Greece received its theatrical inspiration from Egypt, they sought after control of the area rather than companionship with a neighboring nation. Alexander the Great later colonized a sizable portion of Egypt. His conquest brought Hellenization to Egypt as well as the art that followed the customs of Greek theater, including masks of comedy and tragedy (ucl.ac.uk). They also made native Egyptians adopt their religious practices. In A History of Theater in Africa, Banham & Zaki state that “...the Greeks misunderstood the religious culture and tradition of the country they now ruled...” and gods of native Egyptian culture were either eradicated or merged with those of Greek and Hellenistic mythology (19). Up until Roman theatres were constructed in Egypt, Greece “...introduced their theatrical traditions through performances which usually took place at Ptolemaic princes’ palaces and courtyards” (see.news), but no Ptolemaic theater building has survived or been preserved according to Ucl.ac.uk. After the eventual colonization of both Egypt and Greece by the Romans, Egypt was “...no longer an independent nation with its own capital city and kings, but became the personal property of Augustus, a granary to feed Rome and a source of taxed tribute” (Banham & Zaki 20). Although Greek and Egyptian language, culture, and religion were still practiced, Roman officials took control of the priesthood, the cult of Osiris was moved near Aswan to overthrow the Abydos priests, and the temples of Isis, which became the center of the mainstream cult, festivities, and pilgrimage, were placed in Philae (Banham & Zaki 20). Two of the most important theater structures of the time were the theater of Oxyrhynchus, which seated over 11,000 spectators, and the theatre portico at Antinoopolis, which was demolished during the Industrial Revolution (ucl.ac.uk).

Greece is credited with the creation of theater as we know it, but the full story in its entirety of where they received their motivation for the arts remains stowed away and ensconced. Ancient Egypt possesses a deep, unique history in theater and the performing arts and has had a substantial influence on Greek theater as a result. Yet, both Greece and Rome craved power and control over Egypt either appropriating or destroying its culture and history along the way. Most of said history and culture remains either unfound or simply untaught. Teaching the whole truth of theater history - the truth that includes African and other historic indigenous empires - would provide a more well-rounded knowledge of the performing arts and a wider appreciation for how diverse groups of people throughout the existence of humankind have produced drama. 

Works Cited

• “Ancient Greek Theatre in Egypt.” UCL.AU, University College London, https://www.ucl.ac.uk/museums-static/digitalegypt/oxyrhynchus/theatre1.html.

• Banham, Martin, and Ahmed Zaki. “North Africa: Egypt.” A History of Theatre in Africa, Cambridge University Press, Cambridge, New York, 2004, Print. pp. 13–36.

• "Defining Theater." Arts and Humanities Through the Eras. Encyclopedia.com. 25 Oct. 2021. https://www.encyclopedia.com/humanities/culture-magazines/defining-theater.

• Fahim, Joseph. “Roots in the Sand: A Timeline of Egyptian Theatre.” AMERICAN THEATRE, 5 Nov. 2018, https://www.americantheatre.org/2014/05/10/roots-in-the-sand-a-timeline-of-egyptian-theatre/.

• Sikes, Alan. “Theatre History, Theatrical Mimesis, and the Myth of the Abydos Passion Play.” Theatre History Studies, vol. 34, Jan. 2015, pp. 3–18. EBSCOhost, doi:10.1353/ths.2015.0027.

• “The Ancient Egyptian Theatre.” Ancient Egyptian Theatre, Nov. 2003, https://www.faculty.umb.edu/gary_zabel/Courses/Phil%20281b/Philosophy%20of%20Magic/Arcana/Neoplatonism/theatre.html.

• Yasser, Ahmed. “Egypt.. Home to Ancient Greek Theatre Performances.” Seeegy Sada Elbalad English, 26 Sept. 2019, https://see.news/egypt-home-to-roman-theatre-performances/.