Within the architectural space of the Theatre of Dionysus, the most important spatial relationship is that of actor and chorus. Both shared the same acting space, and there was no ‘low stage’ removing the chorus from the audience's field of vision at times when it took no part in the dialogue. The reader of a Greek tragedy can all too easily forget that the chorus is present. The reader of a tragedy in translation is in a particularly parlous position because the choral odes with their dense metaphors and mythic allusions often appear impenetrable by comparison with the dialogue, and it is easy to slide across the words. The fifth-century spectator was never able to forget the presence of twelve or at some points fifteen bodies placed in some kind of space relationship to the actors.

The terms in which Plato satirizes tragic performance are revealing:

Although competition and choral dancing were features of many other festivals, Plato alludes to tragedy here because of the emotions that the chorus generates, and an apparent disrespect for the gods.