e_b.txt edits - theaters

This thread (like Blacksnails) contains edits that I made to the export_buildings.txt theaters. As with him, I have tried to maintain the original intent while providing clarity. Feel free to check and post if you find errors.



{theaters_name} Theaters - entertainment

{theatron1} Mikron Theatron
{theatron1_desc}
Small Theatre\n\nHellenic theatres were more concerned with function over form; as a result, the first ones were built on natural hillsides or with wooden scaffolding. The basic design was a semicircular seating arrangement that faced a wooden skene, or stage. Both the skene and the floor of the theatre, which was known as the orchestra, were fairly rudimentary. The focus was not on the theatres themselves, but on the performances that could be comfortably housed within them.\n\nOriginally, theatres were used as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. Ultimately they served as the setting for tragedies, comedies, satyr plays, and even civic events such as political speeches and discussions. By third century, the most popular productions were performances written by famous fifth century Athenian playwrights such as Euripides and Aeschylus. Theatres were open to all, and the citizens who could attend were certainly happier than those who couldn't.
{theatron1_desc_short}
Theatres provided the local populace entertainment in the form of tragedies, comedies, satyr plays, and other civic presentations.

{theatron1_numidia} Mikron Theatron
{theatron1_numidia_desc}
Small Theatre\n\nHellenic theatres were more concerned with function over form; as a result, the first ones were built on natural hillsides or with wooden scaffolding. The basic design was a semicircular seating arrangement that faced a wooden skene, or stage. Both the skene and the floor of the theatre, which was known as the orchestra, were fairly rudimentary. The focus was not on the theatres themselves, but on the performances that could be comfortably housed within them.\n\nOriginally, theatres were used as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. Ultimately they served as the setting for tragedies, comedies, satyr plays, and even civic events such as political speeches and discussions. By third century, the most popular productions were performances written by famous fifth century Athenian playwrights such as Euripides and Aeschylus. Theatres were open to all, and the citizens who could attend were certainly happier than those who couldn't. The Ptolemaioi built theatres not only to remind themselves of their Hellenic heritage, but also to provide entertainment to their Hellenic subjects.
{theatron1_numidia_desc_short}
Theatres provided the local populace entertainment in the form of tragedies, comedies, satyr plays, and other civic presentations.

{theatron1_thrace} Mikron Theatron
{theatron1_thrace_desc}
Small Theatre\n\nHellenic theatres were more concerned with function over form; as a result, the first ones were built on natural hillsides or with wooden scaffolding. The basic design was a semicircular seating arrangement that faced a wooden skene, or stage. Both the skene and the floor of the theatre, which was known as the orchestra, were fairly rudimentary. The focus was not on the theatres themselves, but on the performances that could be comfortably housed within them.\n\nOriginally, theatres were used as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. Ultimately they served as the setting for tragedies, comedies, satyr plays, and even civic events such as political speeches and discussions. By third century, the most popular productions were performances written by famous fifth century Athenian playwrights such as Euripides and Aeschylus. Theatres were open to all, and the citizens who could attend were certainly happier than those who couldn't. The Epeirotes referred to themselves as Hellenes, and concurrently, they built theatres to strengthen and support that claim.
{theatron1_thrace_desc_short}
Theatres provided the local populace entertainment in the form of tragedies, comedies, satyr plays, and other civic presentations.

{theatron1_romans_julii} Mikron Theatron
{theatron1_romans_julii_desc}
Small Theatre\n\nHellenic theatres were more concerned with function over form; as a result, the first ones were built on natural hillsides or with wooden scaffolding. The basic design was a semicircular seating arrangement that faced a wooden skene, or stage. Both the skene and the floor of the theatre, which was known as the orchestra, were fairly rudimentary. The focus was not on the theatres themselves, but on the performances that could be comfortably housed within them.\n\nOriginally, theatres were used as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. Ultimately they served as the setting for tragedies, comedies, satyr plays, and even civic events such as political speeches and discussions. By third century, the most popular productions were performances written by famous fifth century Athenian playwrights such as Euripides and Aeschylus. Theatres were open to all, and the citizens who could attend were certainly happier than those who couldn't. The Seleukids, being the most powerful of the Successor states, built theatres in order to show the world their Greek heritage and Hellenic power.
{theatron1_romans_julii_desc_short}
Theatres provided the local populace entertainment in the form of tragedies, comedies, satyr plays, and other civic presentations.

{theatron1_romans_brutii} Mikron Theatron
{theatron1_romans_brutii_desc}
Small Theatre\n\nHellenic theatres were more concerned with function over form; as a result, the first ones were built on natural hillsides or with wooden scaffolding. The basic design was a semicircular seating arrangement that faced a wooden skene, or stage. Both the skene and the floor of the theatre, which was known as the orchestra, were fairly rudimentary. The focus was not on the theatres themselves, but on the performances that could be comfortably housed within them.\n\nOriginally, theatres were used as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. Ultimately they served as the setting for tragedies, comedies, satyr plays, and even civic events such as political speeches and discussions. By third century, the most popular productions were performances written by famous fifth century Athenian playwrights as Euripides and Aeschylus. Theatres were open to all, and the citizens who could attend were certainly happier than those who couldn't. In Baktria, theatres were built, but they were not as grand as those of Greece or the great Hellenic cities. They were built not only for entertainment purposes, but also as a reminder of the heritage that the Greek settlers that resided in Baktria possessed.
{theatron1_romans_brutii_desc_short}
Theatres provided the local populace entertainment in the form of tragedies, comedies, satyr plays, and other civic presentations.

You've neglected a personal touc for the Arche Seleukids. Something along the lines of:

The Seleukids, being the most powerful of the Successor states, built theatres that showed the world their Greek heritage and Hellenic power.

Quote:

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Originally Posted by SpawnOfEbil

You've neglected a personal touc for the Arche Seleukids. Something along the lines of:

The Seleukids, being the most powerful of the Successor states, built theatres that showed the world their Greek heritage and Hellenic power.

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Good idea. Always looking for things that'll spice 'em up and differentiate where historically appropriate.

That sounds reasonable, I just wanted to get out the editted versions so people could help refine them. That sounds like an adequate touch to shape it up. My first goal was to get the content that was there into grammatically correct shape. Thanks.

LE

Can't see any grammatical mistakes, although the choice of diction is perhaps a little clumsy.

Quote:

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Originally Posted by SpawnOfEbil

Can't see any grammatical mistakes, although the choice of diction is perhaps a little clumsy.

---

Perhaps, but the original I had to work from was an absolute mess, like many of the files. If you would like, you can suggest alternatives to anything that you see as faulty or clumsy.

LE

absolutely! we love suggestions....the more specific the better!!

Quote:

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Originally Posted by SpawnOfEbil

...although the choice of diction is perhaps a little clumsy.

---

As compared to something professionals are paid to do or some other mods? I've no problem with corrections or suggestions, but vague statements like that aren't helpful. Should we rewrite it again for reconsideration?

This is my alternative:


Hellenic theatres were more concerned with function over form, with the first ones were built on natural hillsides with wooden scaffolding. Their architecture reflects this, and theatres were sometimes little more than a wooden stage on a hillside with no protection from the elements. The basic design was a semicircular seating area around a wooden skene, or stage, although this was often ignored. \n\n(I assume this is a new line thing). Originally, theatres were built as temples to Dionysos, although later the performance of plays took precedence over any religious ceremonies. The most well-known, and hence performed, plays were tragedies by famous fifth century Athenian playwrights such as (give example here), although theatres were also used for comedies, satyr plays and civic performances (which are? I don't think we need to mention these). Theatres were open to all, and the citizens who could go would be happier than those who couldn't.

Nice. That's a lot more concise. a bit too much in some respects, but overall much cleaner.

What have I missed out? Anything that I need to add to that?

I'm working on a compromise between our two types, I'll post it in when I finish it.

LE

Alright I have the new versions incoporating many of Spawn's suggestions along with a few new clarifying edits.

LE

You can see the new text right here. LE edited his original post, which is the correct way for him to operate (this is a working thread, after all). LE - For comparisons sake, you may want to post the old turgid stuff (at least for one faction).

Heres what the description originally looked like before I made my initial edits. Unfortunately, I overwrote my first changes with the new one.

LE

{theatron1} Mikron Theatron
{theatron1_desc}
Small Theater\n\nFrom its origins on the sides of hills and with primitive wooden scaffolding, the theatra of the Hellenes were at their core practical structures. They provided a setting for the production of tragedies and later comedies as well as satyr plays and other civic presentations. They were not always the most grand structures, especially the earlier ones and those found farther from the heartland of Hellas itself. The sloping side of a hill was the first prerequisite, and if any serious care was paid to detail, a semicircular arrangement measured out with some degree of precision was desireable. The floor was known as the orchestra and the stage, or skene, was usually fairly simple.\n\nThe theater itself was not the focus, but instead the real reason for their existence was the performances that could be comfortably housed there. The worship of the god Dionysos was also very important wherever a theater was found, but the tragedies and comedies had long since taken precedence over the religious reasons for holding the festivals. By the third century, the most popular productions were not new ones, but performances of the famous fifth century Athenian playwrights. Those citizens who attended productions were certainly more happy than citizens in cities without a theater at all.
{theatron1_desc_short}
They provided a setting for the production of tragedies and later comedies as well as satyr plays and other civic presentations and made for a happier citizen body.

Looks good, concise without missing info out.

Quote:

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Originally Posted by SpawnOfEbil

Looks good, concise without missing info out.

---

We kept a lot of your verbiage, and your alternative helped in at least two areas:

1) Made it clear to us that the first paragraph should be "what a theatre is" while the second para becomes "what a theatre does". Much better flow.

2) The comment on civic performances. You were right. What IS that? And the answer was, duh, theatres were handy locations for the citizenry to meet for speeches and political discussions. It wouldn't surprise me if other groups used them too.....merchant societies, religious groups, etc.

So thanks! And please continue to offer (as TA would say) "specific" suggestions! :2thumbsup:

Edit: And how could I forget....MANY thanks to LordElrond! A most helpful and productive "first day on the job"!!

Quick question for Kull or TA (or other EB member):
Before each of the desc there is a heading that reads 'Small Theatre" or 'Small Hellenic Theatre,' Should I change the faction specific desc to the faction name, say, ' Small Seleukid Theatre?' And if I would do that, how would I name the one for Epeiros? Epeirote Small Theatre? And why is the Ptolemaioic(spelling?) theatre announced as a Small Hellenic Theatre?
I'm just looking for an opinion on standardizing these names. Thanks.

LE

Edit: I have changed them all to faction specific names, since the majority of them were originally, but I am still looking for help on what to name the Ptolemaioic theatres. They were originally called Hellenic, as I have left them. Is that alright? Or should they be Ptolemaioic? Aigyptian?

I have the next batch of descriptions that I wanted to turn in before I checked out for the night. I will fix the headings in each descrip once a get a reply to my previous post. Please feel free to post any corrections you find.

LE


{oideion1} Hypostylon Oideion
{oideion1_desc}
Columned Music Hall\n\nOideia first became common in the fifth century BC. Indoor stages were becoming more popular due to the shelter they provided from the sweltering heat and harsh winter rains. These structures were smaller than other comparable theatres, because they didn’t require dancers or a chorus. Oideia did not replace theatres, but their presence generally indicated that the city they were located in already had a theatre, and was now becoming large enough to merit both structures.\n\nThe most famous oideion was that of Perikles. This structure was adorned with stone pillars throughout its interior. Also, the roof of it was built with the wood of ships that had been captured in the Persian Wars. This magnificent building was said to have been constructed in the style and shape of the tent of Xerxes. Numerous towns in the Hellenic world were able to construct their own oideion, but there was a general problem in all of them concerning the number of columns that obscured the view. Still, their presence, and the implied presence of a small theatre, led to content citizens in the towns that had them.
{oideion1_desc_short}
Smaller than comparable theatres, these structures further bolstered the public’s contentment by providing shelter for performances of vocal and instrumental music.

{oideion1_numidia} Hypostylon Oideion
{oideion1_numidia_desc}
Hellenic Columned Music Hall\n\nOideia first became common in the fifth century BC. Indoor stages were becoming more popular due to the shelter they provided from the sweltering heat and harsh winter rains. These structures were smaller than other comparable theatres, because they didn’t require dancers or a chorus. Oideia did not replace theatres, but their presence generally indicated that the city they were located in already had a theatre, and was now becoming large enough to merit both structures. For the Hellenes, this was a positive sign of their city’s prosperity and Hellenic influence.\n\nThe most famous oideion was that of Perikles. This structure was adorned with stone pillars throughout its interior. Also, the roof of it was built with the wood of ships that had been captured in the Persian Wars. This magnificent building was said to have been constructed in the style and shape of the tent of Xerxes. Numerous towns in the Hellenic world were able to construct their own oideion, but there was a general problem in all of them concerning the number of columns that obscured the view. Still, their presence, and the implied presence of a small theatre, led to content Hellenic citizens in the Aigyptian towns that had them.
{oideion1_numidia_desc_short}
Smaller than comparable theatres, these structures further bolstered the public’s contentment by providing shelter for performances of vocal and instrumental music.

{oideion1_thrace} Hypostylon Oideion
{oideion1_thrace_desc}
Columned Music Hall\n\nOideia first became common in the fifth century BC. Indoor stages were becoming more popular due to the shelter they provided from the sweltering heat and harsh winter rains. These structures were smaller than other comparable theatres, because they didn’t require dancers or a chorus. Oideia did not replace theatres, but their presence generally indicated that the city they were located in already had a theatre, and was now becoming large enough to merit both structures.\n\nThe most famous oideion was that of Perikles. This structure was adorned with stone pillars throughout its interior. Also, the roof of it was built with the wood of ships that had been captured in the Persian Wars. This magnificent building was said to have been constructed in the style and shape of the tent of Xerxes. Numerous towns in the Hellenic world were able to construct their own oideion, but there was a general problem in all of them concerning the number of columns that obscured the view. Still, their presence, and the implied presence of a small theatre, led to content citizens in the towns that had them. Furthermore, contributing to the construction of an oideion was something any Epeirote would do to show off not only his city, but also his support of Hellenism.
{oideion1_thrace_desc_short}
Smaller than comparable theatres, these structures further bolstered the public’s contentment by providing shelter for performances of vocal and instrumental music.

{oideion1_romans_julii} Hypostylon Oideion
{oideion1_romans_julii_desc}
Columned Music Hall\n\nOideia first became common in the fifth century BC. Indoor stages were becoming more popular due to the shelter they provided from the sweltering heat and harsh winter rains. These structures were smaller than other comparable theatres, because they didn’t require dancers or a chorus. Oideia did not replace theatres, but their presence generally indicated that the city they were located in already had a theatre, and was now becoming large enough to merit both structures.\n\nThe most famous oideia in the Seleukid Kingdom were maintained in the wealthy Babylonian and Syrian Satrapies. The Hellenic populace always demanded entertainment, but even some native poleis (cities with comparatively few resident Hellenes) built such structures to impress visiting Seleukid officials. Numerous towns in the Hellenic world were able to construct their own oideion, but there was a general problem in all of them concerning the number of columns that obscured the view. Still, their presence, and the implied presence of a small theatre, led to content citizens in the towns that had them.
{oideion1_romans_julii_desc_short}
Smaller than comparable theatres, these structures further bolstered the public’s contentment by providing shelter for performances of vocal and instrumental music.

{oideion1_romans_brutii} Hypostylon Oideion
{oideion1_romans_brutii_desc}
Columned Music Hall\n\nOideia first became common in the fifth century BC. Indoor stages were becoming more popular due to the shelter they provided from the sweltering heat and harsh winter rains. These structures were smaller than other comparable theatres, because they didn’t require dancers or a chorus. Oideia did not replace theatres, but their presence generally indicated that the city they were located in already had a theatre, and was now becoming large enough to merit both structures.\n\nThe most famous oideion was that of Perikles. This structure was adorned with stone pillars throughout its interior. Also, the roof of it was built with the wood of ships that had been captured in the Persian Wars. This magnificent building was said to have been constructed in the style and shape of the tent of Xerxes. Numerous towns in the Hellenic world were able to construct their own oideion, but there was a general problem in all of them concerning the number of columns that obscured the view. Still, their presence, and the implied presence of a small theatre, led to content citizens in the towns that had them. Most public works that were built in the Classical age came from funds provided by the most affluent members of a city. As a result, only the wealthiest Baktrian cities could construct these theatres. Once built, a Hypostylon Oideion was a powerful symbol of Hellenic pride and of Hellenism itself.
{oideion1_romans_brutii_desc_short}
Smaller than comparable theatres, these structures further bolstered the public’s contentment by providing shelter for performances of vocal and instrumental music.

Here is the third section of the theatres.

LE

{oideion2} Mega Oideion
{oideion2_desc}
Great Music Hall\n\nAdvances in architecture had given Hellenic craftsmen the skills and confidence to build larger oideia. A mega oideion solved the problem of obstructed vision in the smaller oideia by enlarging the structure and spacing out the interior columns even more or, in some cases, removing them all together. These buildings were either roofed or semi-roofed, and they could house many more citizens for musical performances than earlier theatres. The stronger roofs covered at least the audience, and oftentimes the entire oideion. A more elaborate skene was also frequently constructed, and an increase in public funds and private donations allowed for more splendid decorations.\n\nThe famous oideia of the great Hellenic cities provided countless musical performances and contests for their citizens. Famous orators could often be found in or around the grandest oideia at times. Cities that could afford to build such structures, in addition to the theatres they already had, were certain to have well contented citizens.
{oideion2_desc_short}
A larger odeion ensured happiness in a city by providing a roofed or semi-roofed enclosure that could house many more citizens for musical performances.

{oideion2_thrace} Mega Oideion
{oideion2_thrace_desc}
Epeirote Great Music Hall\n\nAdvances in architecture had given Hellenic craftsmen the skills and confidence to build larger oideia. A mega oideion solved the problem of obstructed vision in the smaller oideia by enlarging the structure and spacing out the interior columns even more or, in some cases, removing them all together. These buildings were either roofed or semi-roofed, and they could house many more citizens for musical performances than earlier theatres. The stronger roofs covered at least the audience, and oftentimes the entire oideion. A more elaborate skene was also frequently constructed, and an increase in public funds and private donations allowed for more splendid decorations.\n\nThe famous oideia of the great Hellenic cities provided countless musical performances and contests for their citizens. Famous orators could often be found in or around the grandest oideia at times. Cities that could afford to build such structures, in addition to the theatres they already had, were certain to have well contented citizens. Epeirote kings used oideia to showcase the spread of Hellenism and Hellenic civilization.
{oideion2_thrace_desc_short}
A larger odeion ensured happiness in a city by providing a roofed or semi-roofed enclosure that could house many more citizens for musical performances.

{oideion2_romans_julii} Mega Oideion
{oideion2_romans_julii_desc}
Seleukid Great Music Hall\n\nAdvances in architecture had given Hellenic craftsmen the skills and confidence to build larger oideia. A mega oideion solved the problem of obstructed vision in the smaller oideia by enlarging the structure and spacing out the interior columns even more or, in some cases, removing them all together. These buildings were either roofed or semi-roofed, and they could house many more citizens for musical performances than earlier theatres. The stronger roofs covered at least the audience, and oftentimes the entire oideion. A more elaborate skene was also frequently constructed, and an increase in public funds and private donations allowed for more splendid decorations.\n\nThe famous oideia of the great Hellenic cities provided countless musical performances and contests for their citizens. Famous orators could often be found in or around the grandest oideia at times. Cities that could afford to build such structures, in addition to the theatres they already had, were certain to have well contented citizens. In the Seleukid Empire, even the native populations that had cultivated a taste for the Hellenic arts benefited from the larger oideia.
{oideion2_romans_julii_desc_short}
A larger odeion ensured happiness in a city by providing a roofed or semi-roofed enclosure that could house many more citizens for musical performances.

Quote:

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Originally Posted by LordElrond

Quick question for Kull or TA (or other EB member):
Before each of the desc there is a heading that reads 'Small Theatre" or 'Small Hellenic Theatre,' Should I change the faction specific desc to the faction name, say, ' Small Seleukid Theatre?' And if I would do that, how would I name the one for Epeiros? Epeirote Small Theatre? And why is the Ptolemaioic(spelling?) theatre announced as a Small Hellenic Theatre?
I'm just looking for an opinion on standardizing these names. Thanks.

LE

Edit: I have changed them all to faction specific names, since the majority of them were originally, but I am still looking for help on what to name the Ptolemaioic theatres. They were originally called Hellenic, as I have left them. Is that alright? Or should they be Ptolemaioic? Aigyptian?

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It's a tricky issue. I'd like to say "Baktrian Trader" or whatever, but remember that the rebel cities also that have this faction as their subgroup will have these building descriptions too. So I try not to use the adjective for the faction with the first level or two of buildings, but I don't worry so much about it for the higher level ones, as it would probably be a faction that builds it if it's a high level building. However, "Hellenic" is general enough to cover a lot, so sometimes I use that if it's clearly a Hellenic structure. For that Ptolemaic theater, the only ones there are built by greeks, so Hellenic is ok as an adjective there for that type of building I think. Epeirote is the Epeiros adectively form. If you are unsure about using an adjective in title, it's easy to just drop it out entirely, but I think they can be used for some good flavor.

Factions that have a whole lot of rebel provinces with their same faction buildings though need a little more care. I'd say:

Koinon Hellenon - Hellenic - Can be used liberally without issues
Baktria - Baktrian - Can be used liberally without issues as no other rebel provinces have this faction as their own type
Arche Seleukeia - Seleukid - Can be used somewhat liberally as no rebel provinces that I can think of use this faction as their own type, but if it feels incongruous with what the building is (to have "Seleukid" in front of it as an adjective) then don't worry with it
Pahlava - Pahlav I believe - We need to be very restrictive here as lots of rebel provinces will have this type. Basically don't use it as an adjective with titles.
Ptolemaioi - Ptolemaic - Somewhat restrictive, as there are rebel provinces with these structures too, but also because it's not even appropriate on some structures where Aegyptian would be better. If it's the elite greek/makedonian hierarchy that is using the building "Ptolemaic" is ok, but if it's a building used mostly by the common masses then "Aigyptian" might even be better (farming is a good example where that works much better). Either way it's probably good not to use either of these often at all.
Makedonia - Makedonian - A few other rebel provinces have this type, but not many at all. I'd feel ok using it for most mid and high level buildings if it seems appropriate.
Pontos - Pontic - Tricky. Not many rebel provinces have this type, but still it's just not appropriate historically to use it much with buildings except some maybe that are very much associated with this 'culture'. Their royal buildings in amaseia and their special monuments are exceptions.
Epeiros - Epeirote - A few rebel provinces have this (one or two?), but not many at all. It's ok to use "Hellenic" sometimes in place of it though (on low level ones of farming maybe). I'd say only with buildings very high level and closely tied to them.

Thanks for the very indepth answer TA, I hope I understood it correctly. I will take off the adjectives of the first level (or two?) of these theatres, since the are four levels total. However, I'll leave in Hellenic in the second lowest one for the Ptolemaioi since it is more general. That should allow for enough generalization so that rebel cities won't be found with "faction specific" buildings.

Quote:

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A mega oideion solved the chief problem of the smaller oideia

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Which is? I realise that this can be gotten (how I hate that word) from the context, but it wouldn't burt just to mention it here

Quote:

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oftentimes the entire oideion.

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Oftentimes is a word, but, well, would you use it in everyday conversation? (Please don't answer this).

Also, for the Mikron Theatron description, I think mentioning who the playwrights are (Eurypides is the name that first springs to mind) would add to the description.

Thanks Spawn, I will look at that first point you mentioned earlier and see if I can incorporate that, I actually had it in earlier but it seemed to add to the congestion that I was trying so desparately to remove from these descrips. I like the word oftentimes, hehe it adds flavor to describing some of the most magnificent structures that Hellenic cultures built. I am sorry that I don't know enough about ancient famous greek playwrights, but if you provide a suitable sentence that can slide into the existing content, I'd gladly accept it.

As for the last section, I have just finished them up. Perhaps it would be better to include the famous playwright examples here? Since these were far superior to the earlier theatres.

LE

{theatron2} Thaumaton Theatron
{theatron2_desc}
Wondrous Theatre\n\nOnly a very small portion of the largest and wealthiest cities in the Hellenic world could afford these grand theatres. However, once built, they were renowned throughout the ancient world for their beauty. One important characteristic of the thaumaton theatron was its ability to seat tens of thousands of citizens. Multitudes of famous playwrights, actors, musicians and sightseers came to watch and participate in performances there.\n\nThe most famous theatres existed at Athenai, Epidauros, Pergamon, and Megalopolis. Sometimes these structures were closely associated with sanctuaries to the gods, as the one at Epidauros was. One common feature of these theatres was a marvelous skene, from which elaborate mechane allowed heroes or even gods to be shown flying through the air. The cities that contained these splendid structures gained eternal fame for their devotion to Hellenic culture and architecture.
{theatron2_desc_short}
These magnificent theatres drew visitors from all over the Hellenic world due to their splendor and the lasting effect they had on the contentment in a city.

{theatron2_thrace} Thaumaton Theatron
{theatron2_thrace_desc}
Epeirote Wondrous Theatre\n\nOnly a very small portion of the largest and wealthiest cities in the Hellenic world could afford these grand theatres. However, once built, they were renowned throughout the ancient world for their beauty. One important characteristic of the thaumaton theatron was its ability to seat tens of thousands of citizens. Multitudes of famous playwrights, actors, musicians and sightseers came to watch and participate in performances there.\n\nThe most famous theatres existed at Athenai, Epidauros, Pergamon, and Megalopolis. Furthermore, one of the most celebrated Epeirote theatres was built at the oracle of Dodonaios. Sometimes these structures were closely associated with sanctuaries to the gods, as the one at Epidauros was. One common feature of these theatres was a marvelous skene, from which elaborate mechane allowed heroes or even gods to be shown flying through the air. The cities that contained these splendid structures gained eternal fame for their devotion to Hellenic culture and architecture.
{theatron2_thrace_desc_short}
These magnificent theatres drew visitors from all over the Hellenic world due to their splendor and the lasting effect they had on the contentment in a city.

{theatron2_romans_julii} Thaumaton Theatron
{theatron2_romans_julii_desc}
Seleukid Wondrous Theatre\n\nOnly a very small portion of the largest and wealthiest cities in the Hellenic world could afford these grand theatres. However, once built, they were renowned throughout the ancient world for their beauty. One important characteristic of the thaumaton theatron was its ability to seat tens of thousands of citizens. Multitudes of famous playwrights, actors, musicians and sightseers came to watch and participate in performances there.\n\nThe most famous theatres existed at Athenai, Epidauros, Pergamon, and Megalopolis. Antiocheia and many of the Seleukeias also contained marvelous theatres. Sometimes these structures were closely associated with sanctuaries to the gods, as the one at Epidauros was. One common feature of these theatres was a marvelous skene, from which elaborate mechane allowed heroes or even gods to be shown flying through the air. The cities that contained these splendid structures gained eternal fame for their devotion to Hellenic culture and architecture.
{theatron2_romans_julii_desc_short}
These magnificent theatres drew visitors from all over the Hellenic world due to their splendor and the lasting effect they had on the contentment in a city.

I reckon mentioning the playwrights would suit the small theatres better, as we/you have already mentioned such playwrights. Something along the lines of:

The most performed plays were written by famous Athenian playwrights (or however it goes) such as Euripides and Aeschylus (there already is a quote from this guy in the loading screens).

Moving on to the oideia, something along the lines of:


Epeirote Great Music Hall\n\nAdvances in architecture had given Hellenic craftsmen the skills and confidence to build larger oideia. A mega oideion have columns spaced wider than their smaller counterparts, thereby allowing everyone a view of the proceedings, as the columns were not obstructing the view. etc etc.

I realise it's probably not the best, but at least it mentions the problem.

EDIT: Marvelous or marvellous? American or British?

Thanks, I'll include your playwrights into the first theatres. Kull and myself have found a suitable replacement for that trouble sentence in the mega oidea. Oh, and I'm american so thats the way I chose to spell it. In regards to that, I may just find a word that is non-controversial.

LE

EDIT: I'm trusting you on the spelling of their names. :) Thanks for all the input.

EDIT2: Thanks yet again TA, its amazing that you find time to help us out despite all the work I've heard that you have to do.

I'd even think about saying something like "by spacing them out or removing them altogether in some cases". Those biggest ones were constructed in a way as to remove the obstructions entirely.

LE - How's it going with those River Ports? Think you'll be able to get them up in a thread pretty soon? Thanks!

Edit: All Theatre Descriptions added to EB.txt (3/18/06)

Thanks Lord Elrond! When you load up EB v.74, your "theaters" are now a part of the game!