Theater, as an artistic creation and social event, as a system of communication and educational good, constitutes both the content and the container of culture, a vivid imprint and indicator of the evolutionary path of humanity.

In this sense, theater in time and culture is not understood merely from the perspective of a narrative recounting of the elements constituting the evolution of theatrical genres and modes of expression, but also as a complex process of merging anthropological data with sociological conditions, historical characteristics with communicative traits.

Therefore, if we attempt to grasp it in its complexity and dare to formulate a holistic view of it, beyond any national peculiarities, genre classifications, and seasonal transformations, we are obliged to address it in a dual manner, always within its historical contexts: on one hand, to consider it as a secular creation, a timeless shaping of its enduring significance, but also a historical result of a specific adaptation of it, while on the other hand, to perceive it as a primary field of secondary notation of actions and activities, relationships, and situations that occurred either actually or imaginatively, individually or collectively, and constituted emblematic or conventional representations of the real, the imaginary, or the mythical.

Through these prerequisites, Theater is formed as a communication system and consumer good, as an entertaining art and instrument of change in the world, and is integrated into its social environment, transforming from a primitive event into modern drama, moving from the city to society and evolving from myth to language, from the text's language to the performance's meta-language, from the prehistory of human culture to the era of late modernity.