The satyr play is a form of Attic theatre performance related to both comedy and tragedy. It preserves theatrical elements of dialogue, actors speaking verse, a chorus that dances and sings, masks and costumes. Its relationship to tragedy is strong; satyr plays were written by tragedians, and satyr plays were performed in the Dionysian festival following the performance of a group of three tragedies. The satyr play’s mythological-heroic stories and the style of language are similar to that of the tragedies. Its connection with comedy is also significant – it has similar plots, titles, themes, characters, and happy endings. The remarkable feature of the satyr play is the chorus of satyrs, with their costumes that focus on the phallus, and with their language, which uses wordplay, sexual innuendos, references to breasts, farting, erections, and other references that do not occur in tragedy. As Mark Griffith points out, the satyr play was "not merely a deeply traditional Dionysiac ritual, but also generally accepted as the most appropriate and satisfying conclusion to the city’s most complex and prestigious cultural event of the year." The satyric drama may be traced back to Pratinas of Phlius, c. 500 BC. After settling in Athens, he probably adapted the dithyramb, customary in his native home, with its chorus of satyrs, to complement the form of tragedy which had been recently invented in Athens. It met with approval and was further developed by his son Aristeas, by Choerilus, by Aeschylus, and others. Origins The origins of performance culture and the emergence of the satyr play can be traced to ancient rural celebrations in honour of the god Dionysus. Rush Rehm argues that these inaugurated the "agricultural cycle of planting and harvesting" closely associated with Dionysus, who represented the embodiment of "a fundamental paradox inherent to the world, life-giving but potentially destructive." The role of the satyr play within the Festival of Dionysus is often not noted to be as important as the tragedies presented at the festival; however, it is crucial to the dramatic arts and history not to downplay their importance. The dramatic festivities at the City Dionysia in Athens, similarly dedicated to Dionysus, required each competing tragedian to submit three tragedies and a satyr play, which functioned as the last piece performed at the festival. The accurate emergence of the satyr play is debatable; however, Brockett argues that most evidence “credits Pratinas with having invented