The ancient Greek theatre (qevatron), as its name suggests, is a “seeing place,” a place of revelation, where we see what is normally unseen and where what we normally see is hidden. Actors and dancers are all masked. At first, their identities are hidden, and all we see “onstage” are archetypes: gods and mortals, male and female, young and old, powerful and powerless. The rituals of Dionysos are also all about civic unity and human friendship. Indeed, friendship is the bond of the polis, and, as Euripides was so singularly aware, the bond of the human community. The plotline of each Greek drama is its mythos, the source of our word and understanding of myth. The dramas that unfold before our eyes in the Greek theatre reveal the commonalities, not the idiosyncrasies, of the human condition. Surely, Jung would be right at home in the theatre of Dionysos and know just what to make of its myths, its masks, its archetypes, and its all-too-human characters in our turbulent world.