The tragedy Greek can be considered as the result of this ' ' amarrao' ' , that is, of the complementation that Dionsio makes with Apolo, where the dionisaca dimension constantly dissolves the apollonian form that is responsible for the individual form and the multiplicity. This dionisaco impulse exceeds all the forms, it makes with that the individual form disappears inside of the unit, and for the fact to dissolve the form, the dionisaco power is threatening. It makes with I begin that it apollonian of the individuation disappears with the threatening consequence of the individual if to lose inside of the nature, in one total disintegration makes that it to come back to the origins, toward the nothing, the emptiness, the lack of deep, for the overflow in the blackout. The described importance in ' ' amarramento' ' of these two to be able antagonistic are that without the apollonian dimension, it would have the risk of the dionisaco element to dissolve the Greek way of life all, therefore if Dionsio predominates with its overwhelming effect, the life loses all its form, if it loses same itself. This ticket of the apollonian forms for the dionisacas forms and vice turns is what we consider the movement of the reality, or still, the cult is this the Dionsio that after the dissolution of the being brings in return to the apollonian forms. The plastic arts, produced for the artistic man, have the way of being apollonian. The artist, as well as Apolo, is always producing form, is in a certain way caught to the forms, but without, however, at any moment to stop to ask if it is equivalent to some thing, that is, is not in the search of the substance, of the essence that if would find for detrs of the appearance. It lives immersed in this appearance, in its movement of appearance, without if to worry if exists something beyond. .