Page:The New International Encyclopædia 1st ed. v. 19.djvu/229

* THEATRE. 185 THEATRE. Skene) was introduced to serve .as a dressing- room, and this speedily became a building, ap- parently erected just outside the circle of the orchestra, and provided with three doors. It niiglit represent a palace or temple or any other building called for by the play; or the front might be covered with a painted scene, as in the Birds of Aristophanes. During all this time actors and chorus were on the same level in the orchestra, except that gods and occasionally other characters seem to have appeared on the roof of the skcne. Our knowledge of this theatre of the fifth century is partly based on the very scanty ruins of the earliest structure, and partly on the internal evidence of the plays themselves, in which there are many passages which imply that actors and chorus are on the same level, and none, with the exception above noted, that clearly imply any raised stage for the actors. In the fourth century, probably, the theatre at Athens was rebuilt in stone, the orchestra being moved farther back into the hill, and reduced to about sixty feet in diameter, stone seats were provided for the spectators, and outside the circle of the orchestra was erected a long stone sK'ene. with projecting wings (irapaffKi^i'ia, para- sk('nia). It seems probable that between these wings the scenery was now displayed, but there is no evidence, in the remains, of any raised stage. The old view, still held in modified form by many, is that in the fifth and fourth centuries there was a stage for the actors, probably low, in front of the siccnc. and that when the chorus was discontinued this was replaced by the high platform of the Hellenistic theatre. Somewhat later there was erected, a short distance in front of the Skene, a low wall (■n-pocK-qvi.ov, proxkfnion) about twelve feet high, composed of columns, or half-columns, siipporting an entablature, and with the intercolumniations filled with wooden panels. There was a door in the centre, with possibly two more near the sides. In front of this structure the paraskcnia projected but a little. The space between the skciie and pro- skeiiion was roofed over, forming a platform, which varies in different theatres, but is from 10 to 12 feet in height and from about 7 to 9 feet in width. It is maintained by some that in the plays of the Hellenistic time the actors ap- peared on this level, as there was no chorus. On this point the evidence is far from clear, but it seems not improbable that actors in the drama proper occupied the lower level, and that this platform was for gods. In Asia Jlinor, under the influence of modified conditions, another type was developed by diminishing the height and increasing the width of the stage, reducing the orchestra to less than a semicircle. This operation might be described as sinking a part of the orchestra, for the lowest row of seats is' frequently (as at Aspendus) on a level with the stage, and not, as in earlier Greek theatres, at the level of the orchestra. It is to be noted that this is not really a lowering and extension of the proskciiion. for at the rear uf the new stage ap- pears a decorated front of columns or half-col- umns and cornices, which forms a background to the actor, similar to that formed by the old proskenion. There was no curtain in the Greek theatre. In the Roman theatre the plan is very similar in outline, but the details differ widely. The orchestra waa only a semicircle, and was used commonly for seats of honor. The other lialf of the circle was covered by a low stage ipul- pitutn), whose depth was somewhat less than a radius of the orchestra, and its width not over two diameters. In the rear wall were three or five doors, and in the side walls two. replacing the old paradoi. A new entrance into the orches- tra was provided by an arched passage under the seats at the side. In the Pvonuin theatre there was a curtain which disappeared below the stage when the performance began. In Greece, outside of Athens, the chief theatres are at Epidaurus, Eretria, Sicyon, Megalopolis, JIantinea, Delphi. Oropus, and Delos. In .Asia Jlinor Greek theatres have been studied at Per- gamum, JIagnesia on the Maeander, and Priene, while fine examples not fully excavated are at Aspendus. Telniessus. and other sites. In Sicily and Lower Italy the Greek theatres have been altered in Roman times. Fine ruins remain at Taormina, Sj'raeuse, Segesta, Pompeii, and Fiesole. In Athens plays were performed only in con- nection with the festivals of Dionv'sus ( see Greek Fe.stiv.l.s ), i.e. the Country Dionysia, the Len«a, and the Greater or City Dionysia. It was at the latter that tragedy developed, and here the great tragedies were first produced. Comedy was at first confined to the Lena'a, but after about B.C. 465 was also part of the Greater Dionysia. At this festival three tragic poets competed, each producing a tetralogy, i.e. three tragedies and a satyr play. One tetralogy seems to have been performed on each of the three days. The three comedians produced only one comedy each, which seems to have followed on each day the group of tragedies. The arrangements Avere in charge of the Archon Eponymus, who chose the three poets from among those submitting works, and assigned to each a ehm-egiis, i.e. a wealthy citizen upon whom devolved the expense of the production. The production was a compe- tition between the choruses, and the victorious choregus dedicated a tablet to Dionysus. The poets received a crown of ivy and a sum of money. Only three actors were allowed, and at first it seems to have been usual for the poet to play the leading role. Later, acting became a regular profession, and troupes of three actors were organized. After the fifth century B.C.. and perhaps earlier, the leading actors also competed for a prize. The profession was not dishonorable, and the actors seem to have been always free citizens, as were the chorus. Women did not appear on the stage, unless possibly as flute- girls. The costume of the tragic actor was a long tunic, with close-fitting sleeves often richly embroidered, and a cloak or mantle, with some- times a shorter tunic under the cloak. Masks ■were also worn, and the stature was somewhat increased by padding, a high top to the mask, and thiek-soled shoes (cothurni), which also served to raise the actor somewhat above the level of the chorus. The dress of the chorus seems to have resembled that of daily life, except of course in such eases as the Eumcnidcs of .^ilschylus, where the Furies produced a great impression by their aw-e-inspiring appearance. The satyr chorus wore masks reproducing the typical satyr countenance, a goatskin around the loins, and phalloi. The comic actors wor^;