>>1390073people really underestimate Pekora and her knowledge of modern storytelling. If we take a step back for a second and try to pinpoint her awareness of the genre (the precise origins of Greek comedy plays are lost in the mists of prehistory), she illustrates deft awareness that the activity of men dressing as and mimicking others must surely go back a long way before written records. The first phase of the structured greek comedy was the 'agon' which was often a witty verbal contest or debate between the principal actors with fantastical plot elements and the fast-changing of scenes which may have included some improvisation (if references to specific audience members are taken as being to individuals actually present in the theatre). I think surely this portion as it relates to Pekora speaks for itself. The next part of the play was the 'parabasis', when the chorus spoke directly to the audience and even directly spoke for the poet. This too is overly self explanatory, and I wont offer any masturbatory dialogue to patronize the entry. Just as the Greeks did, Pekora wears a Mask, which deprives the actor of using most facial expressions - consequently the use of voice and gesture became extremely important. Costumes were another important visual part of the performance in Greek comedy, and the most common were padded with tights and a short tunic which revealed a false and exaggerated phallus - a detail which matches the hyper sexualization of the 'bunny girl' in modern times. Plays were performed in an open-air theatre (theatron) such as that of Dionysos in Athens and seemingly open to all of the male populace (the presence of women was contested). Pekora manages to cultivate the same sense of 'open-air' Dionysian opulence. I would go on but I don't want to ramble
