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acting actors Aesch Aeschines Aeschylus Ajax anapaestic ancient appears archon Arist Aristoph Aristophanes Aristot arrangement Athenian Athenian theatre Athens Attic audience auditorium called character choral choregus choreutae City Dionysia competitions connexion consisted Corp coryphaeus costume dancing Demosth Demosthenes Denkmaler denote dialogue Dindf dithyrambic dramatic performances dress ekkyklema Electra entrance Epidaurus erected Eumenides Euripides exhibited fact festival fifth century fourth century front Greek drama Greek play Greek stage Greek theatres Hesych iambic Inscr inscription instance kind later Lenaea lyrical masks Meid modern occasion Oedipus Old Comedy orat orchestra ordinary Orestes palace parodos passages periaktoi period persons platform Plut Poll Pollux Priest probably protagonist records referred satyric drama satyric play scene scenery Schol seats Soph Sophocles spectators stage-buildings Suidas tetralogy theatre at Athens theatre of Dionysus tragic actor tragic chorus tragic contests tragic poets tribe victory Vitruv Vitruvius whole word xopov
Page 24 - Verum ita risores, ita commendare dicaces Conveniet Satyros, ita vertere seria ludo, Ne quicumque deus, quicumque adhibebitur héros, Regali conspectus in auro nuper et ostro, Migret in obscuras humili sermone tabernas, Aut dum
Page v - MY purpose in this book has been to collect and piece together all the available information concerning the outward features and surroundings of the old Athenian dramatic performances ; in other words, to write a history of the Attic drama from the theatrical, as opposed to the literary, point of view. The subject is one which has been practically
Page 81 - But towards the end of the fifth and the beginning of the fourth century the practice in these matters underwent a change. Poetry and stage-management began to be sharply discriminated from one another. A class of literary dramatic writers arose, such as Theodectes and Aphareus, who were quite as much rhetoricians as poets. They knew nothing about the details of training a chorus, or preparing a play for
Page 313 - The composition of the purely Athenian part of the audience is a subject upon which a great deal has been written, the principal difficulty being the question as to the admittance of boys and women to the dramatic performances. In the treatment of this matter scholars appear to have been unduly
Page 134 - In the centre is a large rhombus-shaped figure, bounded by two strips of marble. The interior of the figure is paved with small slabs of marble, also rhombus-shaped, and of different colours. In the middle of the figure is a block of Pentelic marble, 41 inches long, and 17^ inches broad. The centre of the block