Middle East Theatre in the Middle East, as elsewhere, was initially of a ritual nature, dramatising human relationships with nature, the deities, and other human beings. It grew out of sacred rites of myths and legends performed by priests and lay actors at fixed times and often in fixed locations. Folk theatre – mime, mask, puppetry, farce, juggling – had a ritual context in that it was performed at religious or rites of passage such as days of naming, circumcisions, and marriages. Over time, some of these contextual ritual enactments became divorced from their religious meaning and they were performed throughout the year. Some 2500 years ago, kings and commoners alike were entertained by dance and mime accompanied by music where the dancers often wore masks, a vestige of an earlier era when such dances were enacted as religious rites. According to George Goyan, this practice evoked that of Roman funeral rites where masked actor-dancers represented the deceased with motions and gestures mimicking those of the deceased while singing the praise of their lives (see Masks in Performance above). Europe The oldest representations of masks in Europe are animal masks, such as the cave paintings of Lascaux in the Dordogne in southern France. Such masks survive in the alpine regions of Austria and Switzerland, and may be connected with hunting or shamanism. Masks are used throughout Europe in modern times, and are frequently integrated into regional folk celebrations and customs. Old masks are preserved and can be seen in museums and other collections, and much research has been undertaken into the historical origins of masks. Most probably represent nature spirits, and as a result many of the associated customs are seasonal. The original significance would have survived only until the introduction of Christianity, which incorporated many of the customs into its own traditions. In that process their meanings were changed also so, for example, old gods and goddesses originally associated with the celebrations were demonised and viewed as mere devils, or were subjugated to the Abrahamic God. Many of the masks and characters used in European festivals belong to the contrasting categories of the 'good', or 'idealised beauty', set against the 'ugly' or 'beastly' and grotesque. This is particularly true of the Germanic and Central European festivals. Another common type is the Fool, sometimes considered to be the synthesis of the two contrasting types, Handsome and Ugly. Masks also tend