An audience of spectators, such as we know it, was unknown to the Greeks.
我们知道，古希腊人是没有观众这概念的。
Given the terraced structure of the Greek theater, rising in concentric arcs, each spectator could quite literally survey the entire cultural world about him and imagine himself, in the fullness of seeing, as a chorist.
希腊的剧场是一个同心弧形建筑物，观众的座位层层高叠。使得人人确实能够忽视其周围整个文明世界，在大饱眼福之际，幻想自己是歌队中的一员。
Thus we are enabled to view the chorus of primitive proto-tragedy as the projected image of Dionysian man.
那么，照这一意义来说，我们不妨把原始悲剧最早阶段的歌队称为醉境中人的自我反映。
The clearest illustration of this phenomenon is the experience of the actor, who, if he is truly gifted, has before his eyes the vivid image of the role he is to play.
这一现象最明显的例证莫如演员的体验：一个演员，如果真是有才能，总能见到他所扮演的人物栩栩如生地幌动在眼前。
The satyr chorus is, above all, a vision of the Dionysian multitude, just as the world of the stage is a vision of that satyr chorus--a vision so powerful that it blurs the actors' sense of the "reality" of cultured spectators ranged row on row about him.
萨提儿歌队主要是酒神祭群众所见的幻影，而舞台境界则是萨提儿歌队所见的幻影。这幻影的力量如此强大，足以使人眼花缭乱，看不见“现实”的印象和周围座上有教养的人们。
The structure of the Greek theater reminds us of a lonely mountain valley: the architecture of the stage resembles a luminous cloud configuration which the Bacchae behold as they swarm down from the mountaintops; a marvelous frame in the center of which Dionysus manifests himself to them.
希腊剧场的形式令人想到一个寂寞的山谷，舞台的建筑有如灿烂的云彩，酒神的顶礼者挤拥在山上，从高处俯视这景象，一个壮丽的圆场，酒神的形象就在它中间出现。