#greek theatre masks

[likethestarsatnight]

THEATER MASKS

That i have made in 2024-2025 :D

1.) THE MAIDEN

2.) THE COQUETTE

3.) THE MAD EMPEROR

4.) THE ACTOR

5.) MASQUERADE OFFERING TO DIONYSIUS

6.) DIONYSIUS

🎀🎀🎀🎀🎀🎀🎀🎀

OKAY, THAT'S ALL!

[misterlemonztenth]

04-13-24 | misterlemonztenth.tumblr.com/archive

[tigergingicat]

Another Yuletide rec:

[double-dare-designs]

Greek Mask

Shadow and Light

[myburntwritings]

"Fucking Blood in my bar!"

Back in the 2 loop exploration time, a White mask was in the White Cypress sake Bar, and they pulled out one of the sake jugs with fake blood. He poured some into one of the cups, tasted it, and then left it on the bar with drips of blood all around it.

About 20 seconds later, Zagreus arrived. He took his coat off, looked at the jug, cup, and blood for a couple seconds, and then cleared it away, muttering about having to clean up after people not respecting his bar.

The WM in question was stood on the other side of the bar, not even hiding his bloody hand. Zagreus' stool was also missing from behind the bar, and he very aggressively went to grab one and replace it.

So, when Zagreus returns from Mycenae crate room halfway through the loop to find the mess Laocoon has left, he is visibly annoyed, cleaning up as he muttered

"People always leaving fucking blood all over my bar!"

Zagreus being played by Milton Lopes

[the-mandolorian]

Are you not aware that there comes a midnight hour when everyone must unmask…

— Søren Kierkegaard, 1813-1855, Danish philosopher

Masks of the Ancient Greek theatre

[mcnecklong]

I'm just saying if I'm going to be the strange cryptid to this years theater group the only events they see me at i WILL be looking cool as fuck or I'll die trying

[not-that-dillinger]

Ed wasn't sure why he admitted all of that to James, other than he was worried about him, because James is his friend, and, yeah, he's a afraid of hurting the younger man.

He'd hoped... Ed's not sure what he hoped for. Some sort of conversation, heart to heart, to... he's not sure. Despite having been in therapy for ten years, he wasn't a therapist, and certainly didn't have the resources to be one for James, but he wanted to make sure he knew he had someone in his corner, if the younger man needed him, wanted him to understand that he didn't want James to try to appease him because Ed was certain he would find something to like about him.

He waits patiently for James to form a response.

A monster.

Ed had been called that many times before throughout his life, and many other things like it, by classmates, by coworkers, and sometimes by complete strangers who'd heard his name and made assumptions, to the point where introducing himself to anyone was always an anxiety inducing task. He'd learned to wrap hes feeling in a thick layer of steel, because what did they know about him?

But to come from a place of genuine concern for a friend, and be hit with that?

The pain to his gut is just as sharp as the knife James slew him with.

There's a half-second where Ed's face contorts in shock and pain and grief, before he shoves on a metaphorical mask and forces his expression into a carefully guarded neutral. He clamps down on the mask as hard as he can, not daring let it slip.

He doesn't argue that he's not, because James will believe whatever he wants, and it is Ed's actions that will convince him otherwise, if at all.

He knows who he is, he knows he's not his father, he's tried so hard not to be, but--

Ed gets the feeling he'd said something wrong, that somehow he'd ended up hurting James, even if he didn't mean to.

He wasn't--

Monster.

He didn't want to be. And the last thing he wanted to do was hurt James.

Monster.

It was the same thing Oleander called him, when he'd taken away their sliders, when he'd torn into their code in a fear and anger.

Monster.

Was he?

There was only one logical solution, one way he could ensure he wouldn't hurt James.

"I--I don't think you're pathetic," Ed admits quietly. "Perhaps--perhaps I misinterpreted the situation, in which case, I'm sorry. You know yourself better than I do. But. If that is how you see me, then. Well. The last thing I want to do is hurt you, so perhaps it is for the best that I stay away."

Ed took a slow step backward.

"Good bye, James. I wish you well."

He turns around, and starts to walk away, back to his room where he can be alone.

/* Confession... for James! Your choice if he remembers it.*/

Ed, for once can't seem to bring himself to look at James. "You remind me a lot of my little brother," he admits. "Of how--how he was so eager to get our father's attention, how he would do anything to squeeze himself into the metaphorical mold that our father was so focused on trying to force me into, if only he could please that heartless monster, win his affection..." He sighs. "Except... in this case, I'm... him. I--I see now desperately you are trying to be the version you think I want, but... that wasn't healthy for Jules, and it's not healthy for you either. I don't want that. I don't want you to try to be someone you think I would like. I don't want to hurt you. I want to know the real you."

In my inbox, write a confession your muse want to tell my muse. The catch, my muse will forget what your muse said unless they say in the end “Remember it.”

James is... more than a little stunned to hear this from Ed, so much that he sort of blanks out for a few seconds.

A few key points stand out to him, but they create this confused cacophony in his mind, fully preventing him from responding for several long moments:

He reminds Ed of his little brother... Ed sees him not in a romantic way, not even as a friend, he instead sees him in what James feels is the absolute worst way possible: He sees him as a brother. Oh he hates that. He hates that. That makes him feel uncomfortable in a way he hasn't felt in a long time. It feels like a knife to the stomach.

Ed thinks he (himself) is a heartless monster. That he's going to hurt James. Maybe a few seconds ago James would have argued to the contrary. That Ed is the least heartless person he knows. He's the sweetest most kind person he knows, not to mention funny and smart and just all the things you'd want to know in a person. But now? Now James feels confused. He doesn't think Ed is heartless, but he feels he has the capacity to hurt him, because here James is, hurt. And James can't even try to tell Ed he's nothing like his father because he knows nothing about his father.

He thinks he's pretending. He thinks he's being desperate. He thinks he's... trying to be someone he's not, just for... what, Ed's approval? That's what he's saying? Well, of course James wants him to like him! That's the whole point! But why does that have to mean that James isn't also being himself? Why does that have to mean he's pretending? Is he saying that the only reason James likes him is out of some kind of ruse?

The real James is dead, he died a long time ago, smothered under the layers of who he had to pretend to be to please others in order to survive.

James doesn't even know if he can muster up a response to Ed. Every time he tries, he opens his mouth and nothing comes out and he ends up closing his mouth again.

Finally, his mind ends up going to some place it hasn't gone to since...... he isn't sure, but it went there before and it took a while to come back out, and when it did there was blood everywhere and the bucket, the bucket was gone.

He blinks. And smiles. But the smile doesn't reach his eyes. When he answers, his voice doesn't have the same bounce to it. It's oddly flat. Businesslike. "Okay. All right. Sorry about that, Ed. The real me? Okay. My mistake. I must have been pretending this whole time. You're right. I was faking my entire personality and everything about me just to get you to like me. Because that's what I do. Isn't it? I just put on a whole fake persona to get people like you to like me because I'm that pathetic. That's what you're saying? You know, Ed, you're right. You are a heartless monster."

[akanemnon]

What are microchip comedy and tragedy mask Darkners doing in a Dark World based off Asgore’s Flower Shop? I can get the comedy tragedy part due to the aesthetic of the other Darkners we’ve met so far, and that they have to be able to move around and latch onto faces that match their vibes somehow, but the legs that remind me of microchip prongs feel out of left field. Am I misinterpreting the legs part somehow?

The mask bugs are supposed to resemble stylized clamps you would use to hold together a glass cabinet. Which is why they're in the glass labyrinth, since that is the light world form of that place. Their legs are just to make them look more parasitic in nature.

I had the idea of using the imagry of comedy masks for a while now, since the classic theatre as we know it hails from ancient Greece. And well... the Dark World is based on Greek mythology, so y'know...

A lot of people have made Lethal Company references, and honestly I have never played it, so idk what you guys are referencing. The inspiration of the masks acting this way came from facehuggers from the Alien series, actually. But don't worry. This is NOT going into that direction. I promise.

[moltengoldveins]

@clingyduoapologist made a really cool “what if DSMP were a stage play” post and basically the instant I saw it I was struck by the muse but I don’t want to just chain reblog the dang thing or make one huge reblog with all my thoughts so instead here are all my thoughts on this concept

i don’t think it’s a musical. I think the tone of the story doesn’t fit. But if it were, it would have a Lot of scenes of unsung dialogue, and that dialoge? Would be rhythmic poetry. It’s Shakespeare Appreciation Time baby.

i do however think there would be a live score and an orchestra. A lot of the music would need to be recorded but there’s at least be a few musicians.

different characters speak in different poetic styles at different times to communicate character and plot development.

to elaborate on that: Characters switch from loose ABBA or ABAB rhyme schemes and vaguely rhythmic meter when chatting back and forth to strict perfect iambic pentameter for tense scenes or political speeches.

Techno speaks exclusively in unrhyming dactylic hexameter, an extremely common poetic form for Greek and Latin poetry. It’s what the Iliad was written in. This has the interesting effect of making Techno sound, at first glance, unpoetic. His speech doesn’t rhyme, and doesn’t follow a common English rhythm scheme, so it wouldn’t immediately register as structured. However, dactylic hexameter is actually significantly harder to write in English than expected because of our syllable stress patterns. Speaking like that would be, objectively, a sign of extreme intelligence, but could easily be overlooked as coarse uncultured behavior.

Techno’s chorus - composed of audience members, background extras, and people (in safety harnesses) sitting in the theater rafters - speak largely in Greek and Classical Chinese, quoting sections of the Art of War and Homer’s work. The major exceptions to this are ‘Blood for the Blood god,’ ‘no,’ and ‘do it.’ They all wear a hat or some form of headband that has a glowing LED eye, hidden, but activated when they speak. The audience plants are all in dark clothes, and when the lights go down they don medical masks/sunglasses. Anything to obscure their faces.

The Chorus, a group of robed masked people who broke the fourth wall and often entered the audience, was a vital part of early Greek theatre. I am an intolerable nerd, and the thought of sitting in a dark theatre only to hear an low distorted voice beside you start to comment on the play as a whole choir of voices echo around you, then turning to see your seat neighbor is a masked person with a glowing red eye in your forehead? Literally incredible.

Dream is the only character dressed in even remotely modern clothes.

Dream is first seen as someone (again, in modern clothes) sneaking around backstage in a black hoodie: most of the audience probably assumes he’s a stagehand and not meant to be seen. Then, at some point, he moves from behind a set piece and enters the scene as an actual character, revealing his mask.

interestingly, this is really similar to what I believe is a bit of myth about why ninjas are dressed in all black in modern media. They wouldn’t have been irl, they would’ve dressed like civilians. But stagehands in Japanese theatre would dress in all-black, and were often completely visible onstage moving sets - it was common courtesy to ignore them. Then one day some playwright had the brilliant idea of having one of the stagehands enter the story as an assassin, and suddenly every actor in all-black was a threat. For the life of me I can’t remember where I read that but it’s a cool thought :D

Dream canonically can interact with set pieces, lighting, and curtains.

Dream actively directs lighting in scenes he is not in, sitting above the stage kicking his feet.

Dream is often used to hand off props to characters instead of having them pull them from a pocket and pretend they were pulled from their ‘inventory.’ This begins to get confusing when Dream is acknowledged later on as the he person giving, say, TNT to Wilbur, or wither skulls to Techno.

characters address the audience as ‘Chat,’ (English’s first fourth-person pronoun my beloved) almost constantly, especially for comedic purposes- most of their monologues are addressed directly to the audience as well. For Wilbur, it’s a sign of instability when he stops addressing ‘Chat’ and start addressing the sides or back of the stage.

philza enters from the lower audience, right by the stage, probably after pooping up from the orchestra pit and taking a reserved seat halfway through so no one sees the wings.

Tommy has by far the least structured or rhyming dialogue - if it weren’t for how carefully crafted it was it would sound like normal prose.

Tommy speaks to the audience by FAR the most. Wilbur only addresses them when soliloquizing. Techno barely addresses them at all: they address him. Ranboo speaks to the audience only when alone, and it’s usually phrased like he’s writing in his memory journal. Tommy speaks to the audience at first like a loud younger brother. As he gets older, it sounds more and more like a plea for help, a prayer for intervention that will never come. Exile is one long string of desperate begging aimed our way.

Tommy stops speaking to the audience so much after Doomsday. He starts again when Dream is imprisoned. He stops for good when he dies in there, beaten, alone.

Sam and the Warden are meant to be played by different actors, ideally siblings or fraternal twins. They wear identical stage makeup and costumes, but the difference is there. None of the characters acknowledge this.

the Stage would need to be absolutely massive and curve almost halfway around the central audience, largely because it should be able to be split at times into two separate stages to show different things happening at the same time. This could possibly also work if there were two stages, but getting people to easily turn from one stage to the other without loosing sight of what was happening would be rough.

Doomsday taking advantage of the scaffolding in the rafters and using them as the ‘grid’ for the tnt droppers.

actual trained dogs for Doomsday my beloved. Would cost a fortune but could you imagine.

the entire revolution arc ripped off Hamilton, we all know that, I think we can afford to have a stagehand step forward in that frozen moment in time when Tommy and Dream have that duel, grab the arrow, and carry it slowly across the stage right into Tommy’s eye. For morale.

throughout the execution scene Techno keeps slipping out of poetic meter, especially when he sees/is worried about Phil. After the totem (which would be freaking amazing as some sort of stage effect with like lights and red and green streamers or smthn dude-) he stops speaking in poetry. The scene with Quackity is entirely spoken dialogue. Chat is silent. It’s only when he gets back and sees evidence that his house has been tampered with that Chat starts up again (kill, blood, death, hunt, hunt, hunt-) and he starts speaking in rhythm again.

Every canon death, Dream marks a tally on something in the background. Maybe it’s in his arm? Like a personal scorecard. Or maybe it’s on the person themselves, a little set of three hearts he marks through with a dry-erase marker or something.

phil and techno have a lot more eastern design elements and musical influences than the rest of the cast, except for Techno’s war theme which is just choir, bagpipes, and some sort of rhythmic ticking or thumping. Phil’s also got a choir sting but it’s a lot harsher, the ladies are higher and them men lower, and the chords are really dissonant (think murder of crows)

Tommy’s theme has a lot of drums, but its core is actually a piano melody. The inverse of Tommy’s theme is Tubbo’s, but Tubbo’s is usually played on a ukulele. Wilbur is guitar, obv, and Niki’s is on viola.

Quackity is a little saxophone lick. He and Schlatt both have a strong big band/jazz influence.

None of the instruments that play dream’s theme play anywhere else in the music. I’m thinking harp, music box, and some kind of low wind instrument.

[echoesofolympus]

DIONYSUS; A GUIDE TO WORSHIP

TEXT BELOW;

Dionysus;

Greek Name: Διονυσος

Transliteration: Dionysos

Latin Spelling: Dionysus

Translation: Liber, Bacchus

Parents: Zeus and Semele

Consort: Ariadne (Cretan princess and goddess)

God Of: Wine, festivity, madness, vegetation, fertility

Symbol: Thyrsus (pine-cone staff)

Sacred Animal: Bull, Panther, Serpent

Sacred Plants: Grapevine, ivy, bindweed

Also called: Bacchus, Lyaeus

Epithets and titles;

Βά��χος (Bakkhos) - Of Bacchic Frenzy

Βρόμιος (Bromios) - Noisy, Boisterous

Νυκτέλιος (Nyktelios) - Of the Night

Λαμπτήρος (Lamptêros) - Of the Torches

Αὐξίτης (Auxitês) - Giver of Increase

Ληναῖος (Lênaios) - Of the Wine-Press

Θεοῖνος (Theoinos) - God of Wine

Διμήτωρ (Dimêtôr) - Twice-Born

Λύσιος (Lysios) - Of Release, Releasing

Ἐλευθερεύς (Eleuthereus) - Of Liberation, Freedom

Μύστης (Mystês) - Of the Mysteries

Χθόνιος (Khthonios) - Of the Earth

Κίσσιος (Kissios) - Of the Ivy, Ivy-Bearer

Σταφυλίτης (Staphylitês) - Of the Grape

Προτρύγαιος (Protrygaios) - First of the Vintage

Offerings and associations;

Stones & gems: garnet, ruby, amethyst, grape agate

Incense: Frankincense, Grape, Ivy, Fig, Fennel, Cinnamon, Musk

Colours: red, purple, green, burgundy, gold

Food & drinks: red wine, olive oil, water, fruit, honey, honeyed milk, meats, wheat, barley

Tarot: Hanged Man, The Hierophant

Other: images of the things he's associated with, leaves or curls from grapevines, ivy leaves, pinecones, wildflowers, apple seeds, goblets, leopard or tiger print objects, theatre masks, phalluses/phallic statues

Historical worship;

Patron of regions;

Boeotia; Naxos;

Edonia in Western Thrace

Holiest shrine;

Mt Kithairon (Nysa) in Boeotia, Greece (site of Bacchic orgies)

Other shrines;

Temples throughout Greece

& Asia Minor

Honoured in fertility & harvest rituals

Known festivals:

Great Dionysia - a large festival celebrated in Athens

Anthesteria - festival celebrated in Attica and lonia around the time of the January or February full moon.

Lenaia - a dramatic
competition held in Athens and in some places in lonia

Colour associations;

Red — Represents wine and the blood of life. Also linked to the wild, passionate, and frenzied nature of Dionysian rituals.

Purple — Represents royalty and divinity. Also may represent the dye made from Tyrian murex shells, used in clothing for rituals and celebrations honouring Dionysus.

Green — Represents fertility and lushness of the natural world. Also linked to Ivy and grapevine.

Burgundy — Represents wine in its fermented, mature form.

Gold — Represents luxury, abundance, and divine light. Also linked to the suns role in ripening grapes for wine.

[ancientcharm]

Melpemone, The Muse of Tragedy.

Photography and text: Egisto Sani / CC BY-NC 4.0

This colossal statue may have been part of the decorations of the Theatre of Pompey in Rome. It was discovered without arms in 1496. In 1782, Giovanni Pierantoni restored the Muse’s statua as Melpomene, the Muse of Tragedy, by adding forearms and a modern tragic mask. Four other Muses were found towards the end of the 16th century in the same space. Melpomene was undoubtedly part of a group of nine muses who decorated the theater or the portico of Pompey Theater, the first stone spectacle building in Rome. This statute is the only one to have kept its original head. Former the statue belonged to the Vatican Collections; it was confiscated during the Napoleonic era in 1803, and was exchanged in 1815 with the “Laocoon”, which had been returned to the Vatican after the defeat of Napoleon.  Marble statue H. 3.92 mC. 50 BC. From Rome, Campus Martius, Theatre of Pompey. Department of Greek, Etruscan, and Roman Antiquities Paris, Musée du Louvre – (Ma. 411)

[the-mortuary-witch]

DIONYSUS

WHO IS HE?

Dionysus is a god of wine, fertility, theatre, and ecstasy. He is the son of the god Zeus and the mortal Semele, and is often depicted as a youthful and handsome god with a penchant for revelry and indulgence. Dionysus is often associated with wild and untamed nature, as well as with the overturning of social norms and the celebration of primal instincts.

BASIC INFO: 

Appearance: Dionysus’ appearance can vary somewhat, but he is often depicted as a handsome, youthful man with long, curly hair and a wreath of grapevines or ivy on his head, symbolizing his association with wine and the theatre. He is often depicted wearing a flowing, loose-fitting himation (a type of cloak) and sometimes carrying a thyrsus, a staff topped with a pinecone that is associated with his role as a god of wine and ecstasy.

Personality: in terms of personality, Dionysus is often seen as a god who is passionate, vivacious, and sometimes unpredictable. He is also seen as a god who is not bound by social norms or conventions, and who is often associated with chaos and the overturning of established order. In his interactions with his devotees, Dionysus is often seen as a figure who encourages his followers to let go of their inhibitions and embrace their primal nature and deepest desires. He is also seen as a god who rewards faith and loyalty and inspires ecstatic experiences and a sense of connection to a higher power.

Symbols: thyrsus, ivy crown, grape vine, theatrical masks, and phallus

God of: wine, drunkenness, parties, wilderness, vegetation, fertility, ritual madness, religious ecstasy, theatre, LGBTQ+ Community, and fruitfulness 

Culture: Greek

Plants: grape, ivy, cinnamon, silver fir, bindweed, and figs

Crystals: amethyst, tiger’s eye, serpentine, leopard jasper, amber, green opal, jade, grape agate, rose quartz, garnet, carnelian, and bloodstone

Animals: leopard, tiger, goat, donkey, lion, snake, bull, and panther

Incense: cinnamon, ivy, grape, patchouli, fig, musk, fennel, and frankincense 

Practices: transformation, wine and herb magick, personal growth, art magick, nature worship, healing, and dance magick

Colours: red, purple, green, burgundy, and gold

Number: 5 

Zodiac: Sagittarius

Tarot: The Hanged Man The Devil, and The Hierophant

Planets: Pluto and Jupiter

Days: Monday, Thursday, Bacchanalia, Dionysia, Lupercalia, New Years, and Yule

Parents: Zeus and Semele

Siblings: several paternal siblings 

Partners: Ariadne, Aphrodite, Adonis, Ampelus, Hymenaios, Laonis, and Prosymnus

Children: Priapus, Hymen, Thoas, Staphylus, Oenopion, Tauropolis, Euanthes, Comus, and Phthonus

MISC:

Grapes: Dionysus was often invoked to ensure a bountiful grape harvest and the continued production of wine. Additionally, grapes themselves are often associated with life, fertility, and abundance, which further reinforces Dionysus' connection to them.

Wine: it was an important part of ancient Greek and Roman culture and social life, and was often consumed during religious rituals and festivals. As the god of wine, Dionysus was often invoked to ensure the fertility of the grape harvest and the production of wine.

Ivy: it’s a parasitic plant that wraps itself around other plants and trees, and was seen as a symbol of Dionysus' transformative power and ability to bring forth new life. In addition, ivy was used as decorations for Dionysia rituals and festivals, and was sometimes braided into crowns and wreaths worn by his followers, the bacchants.

Leopard: in Greek and Roman mythology, Dionysus is often depicted as being associated with leopards or having a leopard pelt. Leopards are agile, powerful, and stealthy animals, which may reflect Dionysus' wild and untamed, yet graceful and powerful nature.

Amethyst: according to legend, amethyst was originally white but was stained purple by wine, which was spilled on the stone of a statue of Dionysus. This transformation symbolizes the god's ability to turn something ordinary into something extraordinary, as well as his association with wine and the intoxicating effects of intoxication. In some interpretations, amethyst is also seen as a stone with protective and spiritual properties, which may be why it is often associated with Dionysus' divine power.

Theatre: Dionysus is often associated with theatre and the performing arts. He is the god of the theater and is believed to have transformed the tragedy and the comedy into the two main categories of the art, with his followers creating the first theatre plays. In the city-state of Athens, the theater was a major cultural institution and was often dedicated to Dionysus, with the theatre season beginning with the Dionysia, a festival in honour of the god.

LGBTQ+: in ancient Greece, Dionysus was worshipped as a god associated with liminality and the transformation of identities. This aspect of his cult is sometimes interpreted as a reflection of the acceptance and inclusion of LGBTQ+ identities, who, like the god, transgressed and challenged societal norms and expectations. Many followers of Dionysus, regardless of their sexual orientation, were known for their wild and ecstatic behavior, and for transcending societal boundaries. This has led to some modern practitioners of his cult to use him as a symbol of queer liberation and acceptance. Dionysus has also had both men and women as lovers

FACTS ABOUT DIONYSUS:

He’s honoured in fertility and harvest rituals. 

The maenads, the female followers of Dionysus, were known for their wild and ecstatic behavior, often indulging in drunken revelries, singing, and dancing.

The satyrs, the male companions of Dionysus, were often depicted as half-man, half-beast creatures with goat-like features, who were known for their sexual prowess and lasciviousness.

Sometimes he is referred to as Bacchus in the Roman pantheon.

The cult of Dionysus was one of the most important cults in the ancient world, and was associated with mystery and initiation rituals.

Dionysus was born twice, first as the son of Zeus and the mortal woman Semele, and then later, when Zeus sewed Dionysus into his thigh to protect him from Hera's wrath.

According to The Bacchae by the Greek playwright Euripides, the hero King Pentheus of Thebes opposed the introduction of Dionysian rituals and was torn apart by his own mother and aunts in a Bacchic frenzy.

HOW TO INVOKE DIONYSUS:

Set up an altar dedicated to Dionysus, and place offerings of wine, grapes, or other items that are symbolic of his domain on it, light a candle and some incense, and say a prayer or invocation to call upon Dionysus, close your eyes and enter into a meditative state, and focus on connecting with Dionysus. When you feel that you have established a connection, ask Dionysus for guidance or assistance, and wait for a response.

PRAYER FOR DIONYSUS:

Dionysus, god whose arrival is swift and certain, enduring friend of women and men whose welcome is warm, bringer of light, we see you in shadows. Dionysus, granter of great blessings, your presence is a heady wine.

Kind hearted god, to each  you give as is fitting, each vessel you fill only as we can bear, and yet with even a sip, we are drunk upon you, and our faith is affirmed. Awesome god, but our own will we drink deeply, with you we become lost, we wander, we are found. Hail to you, Lord Dionysus.

SIGNS THAT DIONYSUS IS CALLING YOU:

Having recurring dreams or visions of Dionysus or his imagery, such as grapevines, ivy, or wild animals.

Unexplainable desires for wine or other intoxicating substances, or a pull towards the arts and creativity.

Experiencing sudden and unexplainable changes in your mental state or mood, such as feeling a strong sense of ecstasy or passion.

Finding yourself drawn to images or symbols of Dionysus. 

Experiencing a strong sense of connection to nature and the world around you, or feeling a pull towards wild and untamed places.

Developing a sudden interest in ancient Greek mythology and rituals associated with Dionysus, such as the Bacchic frenzy.

Feeling a strong sense of liberation or empowerment, as if a heavy burden has been lifted, or a desire to explore and embrace your own wild side.

OFFERINGS:

Wine. 

Olive oil. 

Fruit. 

Water. 

Images of the things he’s associated with. 

Pinecones. 

Honey. 

Meats. 

Strong or spicy smelling incense. 

Wheat. 

Barley. 

Pinecones. 

Ivy leaves. 

Wildflowers. 

Goblets. 

Apple seeds. 

Masks. 

Alcoholic beverages. 

Honeyed milk. 

DEVOTIONAL ACTS:

Stand up for those that are marginalized. 

Write stories/plays for Him. 

Drink grape juice or alcohol (only if you can and want to).

Take care of your physical and mental  health. 

Go on wine tours. 

Attend festivals, parades, and parties. 

Wear faux leopard or tiger print. 

Learn about theatre. 

Practice acting/join a theatre club. 

Donate and support local theatre groups. 

Stay up late enough that reality shifts a little. 

Honour his children, Ariadne, and his companions. 

Do things that bring you pleasure. 

Take an improv class. 

Read/write more poetry. 

Attend pride and support LGBTQ+ groups. 

Wear fruity scents. 

Unapologetically blast your music. 

Stay hydrated. 

Take a writing class or continue your writing.

Go to a party. 

Eat grapes or drink grape juice. 

Be the light in the chaos. 

Find ways to add more ivy into your life. 

Get in the habit of asking for someone’s pronouns before assuming.

Use more vinegar in cooking. 

Work on your balance between chaos and organization (both are very important). 

Make crafts using wine bottles/corks. 

Dance. 

Watch an old musical. 

[margaretkart]

Carnival (Απόκριες) is nearby here in Greece but sometimes i think how neat it would be instead of wearing the basic Halloween costumes, we instead had a ancient Greek masks parties, wearing those exaggerated theatre masks and colourful chitons while dancing.

Missed potential here 🤔

[the-nosy-neighbor]

The back of your head is ridiculous. (reaally old meme)

A mutual had an interesting idea that I wanted to write a little about. They mentioned that this is our first time seeing the back of Sally’s head.

This is the first time we’ve seen the back of her head, and to have given it to us twice? Strange. Have we seen the backs of other people’s heads? The characters seem to do “cheating out” like they do on stage (where you unnaturally face the audience and never turn your back on them). I couldn’t find any examples of other characters facing backwards, with the exception of Howdy in “Commercials,” which was more of a side profile. I’m going to say that it is the first time we’ve seen the back of anyone’s head (unless you guys have found an example that I missed.)

It's interesting, though, because why give us the back of her head now? This book has a lot of head on views with flat windows, so that could be the case, but there are some very specific arrangements that don’t seem to make much sense:

For example, here we have two instances of that same head on flat window look. The window in the background shows the neighbors as shadowy figures for the first time, and it is somewhat unsettling. And on the next page, rather than give us the backs of the heads again we only get arms. I would guess this has something to do with this code that is in the bricks. Or at least, I think it is a code, I am still stumped. With examples of so many head on shots in the book and omission of heads, it is strange.

This is kind of a side quest: This image of Sally is highly suspicious to me. Not only is it oddly faced forward and close, the distress on her face seems out of character for the experience it is in relation to. Poppy may be scared, but she doesn’t know that for a fact, and Poppy has given no indications of distress. In fact, as the viewer with further information, we know that Poppy is rather more pleased to not have to do another play.

Once again, my connection to the theatre colors my interpretation of Sally. This image here is very classically Greek chorus style mask (among other styles of mask). Edit: this may be Clown and co pointing out to us that this is a mask.

These are traditional style (ancient) greek comedy/tragedy masks. They wouldn’t have been fused like this obviously, but I chose this represetation of them because of the shapes of the eyes and mouth.

This is a mosaic representation of the masks. I feel like I may have written about this at some point, but some brief info:

The Greeks used masks in theatrical productions for many reasons, but a lot of it was practical. They had large, outdoor theatres, which made it difficult for the actors to emote and speak in a way that they could be heard and understood. The masks are large than the face, and stylized into a look that is easily recognizable for the audience. In the mosaic image, you can see she has wide eyes and an open mouth, which would have been an expression of shock that would have been easily identified by the audience. This is a stand in for tragedy, as the other mask is obviously comedy. Not only are they different facial expressions, but they are different styles. Both the top left and bottom right figures are intended to represent comedy, particularly the character Bacchus, most likely. Bacchus was a jovial, party god, and the god of theatre. In addition, these masks had amplification devices built into the mouths, which allowed for more easily being heard.

As stated, they helped audiences interpret the mood and tone of the piece. It was a common practice in theatre of the time to provide cues for the audience to respond to. The chorus, a group of actors who would come on and off stage, not only provided information about action off the stage (usually considered to be inappropriate to be represented on stage) but also provided instruction as to what the audience should be feeling at this point. According to Aristotle, a contemporary, theatre’s use to society was to provide a purging of emotion through experiencing the emotions presented by the show, which led to a feeling of catharsis (purged, resolved emotion.)

As you can see in the upper right mask, Sally is very obviously styled on a traditional tragedy mask. The eyebrows and the mouth are both dead ringers. I wouldn’t be surprised if Clown or another of the artists have theatrical roots, as many references as I find around.

Back to the back of Sally’s head:

Also, Poppy is dramatic as heck in this.

As you can see here, most of the action takes place through different sides of the window. It is showing us how they could have done it without showing us the back of a head.

This page is very striking, and it features each character’s color in the background of their window. I particularly like Frank and Julie’s window fading from her color to his. Is there another meaning to these windows? Also, I noticed Barnaby is eating at least twice in this book.

But back to the original point, none of these arrangements would require that Sally’s head be turned away from the audience, and in-universe awareness of the audience aside (because I don’t think Sally acknowledges us during this video) a theatre professional would never turn their back on the audience (without specific instruction or reasoning). I think this means that the creators wanted us to see the back of her head. This is for sure our first glimpse of it.

The back of her head was likely hidden from us before. When Q tests Wally’s interference on the original website, they give the instruction, “Reverse this image of Sally.” We really puzzled on that one before Wally answers it, thinking that we must be missing something. It wasn’t super clear if the instruction was to us or someone else. So there was a lot of theorizing on how that would go:

But I know I was certainly not ready to see the image flipped in a way that provides us an entirely new perspective:

Not only did Wally come through, he labeled the image “I did not understand you. Does this help you?" To be fair, we didn’t really understand it either, as most of us were flipping the image of the front side, since there is no back side available. I never really thought that this outcome made sense. If you were going to reverse the image, it would either be horizontal, vertical, or to the back of Sally’s figure. Keeping Sally hidden behind a curtain doesn’t really make sense. So my thinking is that Wally is hiding the back of Sally. edit: this could also mean that W is not only testing Wally, but is trying to out something specific about the back of Sally's form that Wally hides by giving us the curtain.

Now, why would he do that? I’m not sure why he is hiding her from us, as we can’t see what is in front of that curtain. However, based on clues from this and prior updates, I have guessed that there is a duality to Sally.

Let me come at it from a particular angle.

[audreyscribes]

Ω PJO MISC. DEMIGOD HEADCANONS:🎭MELPOMENE: MUSE GODDESS OF TRAGEDY🍇

a/n: When you start cooking with Satyrs and Goats and start being sneaky in this. Also we're back with our favourite (only) Camp Director, Mr. D! [PJO MISC + MUSE DEMIGOD H/CS MASTERIST: [AO3] \\ [TUMBLR]

Alright out of the muses, you have the flair for dramatics, particularly for the macabre variety. You’re often described as being dramatic yet very serious in your pose. How, no one knows but you pull it off.

Melpomene is the Muse of Tragedy, and while you know all of William Shakespeares’ tragedies not only Romeo & Juliet and Macbeth, you’re very good at remembering Julius Caesar, Timon of Athens, and Titus Androncius, you’re first and foremost familiar with the Ancient Greek Tragedies of Sophocles, Euripides, and Aeschylus.

In terms of play and theater management, you’re the one leading it most of the time out of the muses and in turn, you’re the one who interacts with Mr. D the most. Not surprising because particularly Greek Tragedy, were also used as ritual rites while both being carried out by and dedicated to Dionysus so if anything he’s going to have a few says. He’s the Theatre director and you’re the producer basically; or the other way around. It gets confusing sometimes.

Despite Mr. D’s casual reference they used to sacrifice goats, you came to a compromise: the goat would be used as a mascot for the plays and theaters, instead as a sacrifice, but in turn you would allow any Satyr to take any part if they chose to.  

In terms of weaponry, your preferred weapon is the sword as Melpomene is portrayed holding a sword. Alongside though, you’re also known to wear a mask into battle, another of Melpomene’s symbols. 

What no one expects is that you insist on wearing boots. Not just any boots like rainboots or uggs, but Buskin boots or something similar to Cothurnus boots; boots that go to at least your knee or half way up your calves as Melpomene is shown wearing them. You have a large variety of boots that fit any occasion and you can smoothly walk across the stage and fight just as well even in your platform boots. Many Aphrodite children and even Ares children ask for tips how you wear these boots so well. 

The Sirens could also be considered your half-siblings which explains somethings as your chanting during your theater productions charms the soul of your listeners, and also explains many of the tragedies the Siren orchestrate in front of them as they tempt sailors to their deaths. On the other hand, your singing/chanting reveal your audience the themes of human nature and the dealings with mortal rights and wrongs, thus giving them enlightenment in each individual.

What is unexpected is that because of your knowledge in tragedy, that deals human nature, moral rights and wrongs, and your in depth knowledge of Sophocles and Euripedes, you’ve also become a person who provides great psychological and philosophical thoughts and discussion. Mr. D has given you some coaching in peoples’ mental healths and dreams, so you’re not alone with that responsibility.

You’re often approached by Apollo children who want a couple of insights in their patients, approached by the Athena children for some deep thought, and in general, you often hold a theater session about these subjects.