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From its origins in the [[theatre of ancient Greece]] 2500 years ago, from which there survives only a fraction of the work of [[Aeschylus]], [[Sophocles]] and [[Euripides]], as well as many fragments from other poets, and the later Roman tragedies of [[Seneca the Younger|Seneca]]; through its singular articulations in the works of [[William Shakespeare|Shakespeare]], [[Lope de Vega]], [[Jean Racine]], and [[Friedrich Schiller]] to the more recent [[Naturalism (theatre)|naturalistic]] tragedy of [[Henrik Ibsen]] and [[August Strindberg]]; [[Samuel Beckett]]'s [[Modernism|modernist]] meditations on death, loss and suffering; [[Heiner Müller]] [[Postmodernism|postmodernist]] reworkings of the tragic canon, tragedy has remained an important site of cultural experimentation, negotiation, struggle, and change.{{Sfn | Williams | 1966 | pp = 13–84}}{{Sfn | Taxidou | 2004 | pp = 193–209}} A long line of [[philosophers]]—which includes [[Plato]], [[Aristotle]], [[Augustine of Hippo|Saint Augustine]], [[Voltaire]], [[David Hume|Hume]], [[Denis Diderot|Diderot]], [[Georg Wilhelm Friedrich Hegel|Hegel]], [[Arthur Schopenhauer|Schopenhauer]], [[Søren Kierkegaard|Kierkegaard]], [[Friedrich Nietzsche|Nietzsche]], [[Sigmund Freud|Freud]], [[Walter Benjamin|Benjamin]],{{Sfn | Benjamin | 1998}} [[Albert Camus|Camus]], [[Jacques Lacan|Lacan]], and [[Gilles Deleuze|Deleuze]]{{Sfn | Deleuze | Guattari | 2004}}—have analysed, speculated upon, and criticised the genre.{{Sfn | Felski | 2008 | p = 1}}{{Sfn | Dukore | 1974 | ps =: primary material.}}{{Sfn | Carlson | 1993 | ps =: analysis.}}
In the wake of Aristotle's ''[[Poetics (Aristotle)|Poetics]]'' (335 BCE), tragedy has been used to make genre distinctions, whether at the scale of poetry in general (where the tragic divides against [[Epic poetry|epic]] and [[Lyric poetry|lyric]]) or at the scale of the drama (where tragedy is opposed to [[Comedy (drama)|comedy]]). In the [[Modernity|modern]] era, tragedy has also been defined against drama, [[melodrama]], [[Tragicomedy|the tragicomic]], and [[epic theatre]].{{Sfn | Carlson | 1993 | ps =: analysis.}}{{Sfn | Pfister | 1988}}<ref>{{Cite book |last=Elam |first=Keir |title=The Semiotics of Theatre and Drama |date=1980 |publisher=Methuen |isbn=9780416720501}}</ref> Drama, in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-[[Genre|generic]] [[deterritorialization|deterritorialisation]] from the [[Nineteenth century theatre|mid-19th century]] onwards. Both [[Bertolt Brecht]] and [[Augusto Boal]] define their [[epic theatre]] projects ([[non-Aristotelian drama]] and [[Theatre of the Oppressed]], respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation.{{Sfn | Taxidou | 2004 | pp = 193–209}}
== Etymology ==
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