Thus Dionysian Tragedy as microcosm forces us into a similar dynamic. Whether we sit in the audience, sing in the chorus, wear the mask of Dionysus on the stage, we occupy the same space. Compare the movie theater, where the screen becomes a skin, separating audiance from the reality represented behind the it. Dionysian Tragedy does not allow us to separate ourselves from its reality, so we may examine it, categorize it, then tuck it neatly into what ever slot we have reserved for it. In the light of this insight we may call the chorus in its primitive form, in proto-tragedy, the mirror image in which the Dionysian man contemplates himself.
Differentiation is nullified.