Construction of the Greek tragedy
The construction of the Greek tragedy was subject to strict formal requirements. The tragedy was opened by a monologue or dialogue prologos whose function was to outline the plot situation. After the prologue, there were interweaving epeisodia and stasima, which were three to five. Each epeisodion included dialogues and character monologues as well as narrative fragments, and stasimon was a choir song. The work was closed by an exodos, or the final song of a choir descending from the orchestra.

Subject and pronunciation of the Greek tragedy
The action of Greek tragedies showed the conflict of its main character with fate. Fatum destroys all his intentions and actions, leading him to ruin. Particularly distinguished moments of the tragedy were the periphery and catastrophe. Periphery is the moment of action in which the unexpected turn takes its main character towards the turn of life. A disaster is the immediately preceding defeat of the main hero's defeat, usually his death, which necessarily results from the course of the action. The fate of the tragic figure, that with each of its actions it approaches the fall, joins the song with the categories of hybris, hamartia and tragic irony. Hybris leads the hero to the catastrophe as the punishment of the gods - it is the hero's crossing because of the pride of the measure they have appointed him. Hamartia (tragic fault) leads to a catastrophe as the hero's misconception of the situation in which he finds himself, resulting in the confusion of this situation. Irony tragic (formulated theoretically only in modern times) against the actions of the protagonist leading him to the disaster relies on the well-known viewers sharp acuity between his consciousness and the situation presented by the drama. The hero's fate, building the mood of the tragedy, was characterized by pathos and monumentality. He was to arouse in the viewer a catharsis, purification due to pity and fear. The purification concept probably originated from the Orphic Mysteries. It was formulated by Aristotle in the sixth chapter of Poetics - for Aristotle, however, catharsis relies differently on the orfits, not on ennobling the viewer's feelings with the help of pity and fear, but on freeing him from such feelings.