Tragedy and Dancing

According to Nietzsche, Tragedy combines the Dionysian Art, Music, and an Apollonian Art, Drama, with his main innovation the thesis that the former gives rise to the latter.  In section 2 of Birth of Tragedy, he describes the precise moment of transition, a reaction to dithyrambic Music: "The essence of nature is now to be expressed symbolically; we need a new world of symbols; and the entire symbolism of the body is called into play, not the mere symbolism of the lips, face, and speech, but the whole pantomime of dancing, forcing every member into rhythmic movement.  Then the other symbolic powers suddenly press forward . . ."  In other words, Dancing, qua pantomimetic, functions as a transition to dramatic action, which is the former, now fully articulated, under the auspices of the Apollonian principle.  Thus, for example, dialogue is derived from song lyrics, which are refinements of pantomimetic vocalizations.  His innovative thesis is that the Apollonian principle does not supervene on the process from without, but, as a source of symbolization, is itself generated out of the Dionysian Art.