The works by Aeschylus, Euripides, Sophocles etc, are the treasures of the classical drama. In different times drama has unfolded several new facets that have brought revolution on the stage. In the Restoration era, drama featured absolutely different characteristics. (Jahn, 2003) It became more vulgar and vigorous, portraying the lecherous and degenerated society. The works of Wycherley, Etherege, Moliere enriched this age with their worthy contributions in drama. However, these were mostly comedies. The revenge tragedies such as Thomas Kyd’s The Spanish Tragedy, the Seneca’s bloodthirsty tragedies and many others of this genre, exhibited a gory and violent trait of stage performances. On the other hand in later period the classical notes are represented again, in the Shakespearean drama (both tragedies and comedies) with a close connection with the modern psychoanalytic traits, such as Macbeth, Hamlet, Othello, Julius Ceaser etc. In the later period, nineteenth century ushered a whole new schools of drama with several innovative carves in it. The dramatists like G. B. Shaw, Henrik Ibsen, Brecht etc. came up with excellent notions that metamorphosed the entire figure of world drama. The versatility in the genre of drama has kept the definition of acting or performance moving continuously. Each genre exhibited his or her uniqueness. An actor cannot be captured in a certain frame of definition for a very general reason. He/ she always keeps changing their roles according to the drama. He is essentially a ‘doer’ and hence a performer too. Acting is an art that the performer procreates in each moment of his/ her lifetime by giving life to series of characters, and such a performer who cannot be categorized in any definite role because the art of acting is universal.
Dissimilar from the actors in ancient Greece, who were honored, it is supposed that the actors of Rome in the