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Index
Accius, 64, 131
action units, passim
definition of, 4–5
act division, 27, 46, 79, 135, 159n9, 171n4
actors
distribution of roles among a limited number, 4, 21–22, 32–34, 50–51, 65, 66, 74, 80, 81, 93–95, 110–11, 116, 124–25, 132, 133, 140, 141
mute characters, 18, 24–25, 51, 53, 62, 81, 88, 89–90, 93, 98, 99, 103, 111–12, 114, 116, 117, 118, 120, 121, 124, 127, 130–31, 132, 151n37
mute extras as attendants, 20, 21, 24, 37, 38, 42, 44, 46, 53, 57, 59, 60, 63, 64, 70, 73, 74, 77, 84, 87, 90, 91, 98, 99, 101, 103, 105, 119, 120, 129, 130, 151n37
“mute supernumerary,” 94, 167n6
speaking from offstage, 18, 95, 104, 112, 155n43, 164n2
three-actor rule, 13, 21, 31, 43, 48, 94, 111, 140, 166n42
use of a fourth speaker, 5, 21, 25, 32–34, 51, 53, 62, 63, 94
Aemilius Paullus (comedy performed at his funeral), 149n66
Aeschylus, 1, 8, 18, 51, 61, 64, 138, 143, 150n85, 153n68, 157n25, 164n13, 172n4
Afranius, 148n58
Agathon, 131
Apocolocyntosis, 5
Apollodorus, 171n30
Apollodorus of Tarsus, 131
archive of performance of Greek and Roman drama, 6
Aristophanes, 22, 151n26, 158n42
Aristotle, 13, 25, 27, 46, 143, 155n32, 172n2
audience expectations, confounding of, 83, 92, 116–17, 120, 141, 160nn33–34, 163n36
Augustus Caesar, 11, 12, 144
balcony/roof, 5, 16, 18, 68, 70–71, 74, 79, 82–83, 85, 90, 91, 92, 136, 140, 157n20, 160n35
Bate, W. Jackson, 143
beats, 4–5
blood, 17, 20–21, 39, 40, 47, 63, 87, 88, 99, 100, 103, 115, 130
Byzantine scholia, 171n30
Carcinus, 91, 131
Cassius Dio, 10, 156n56
Catullus, 143, 161n12
center doors, passim, 15–16, 18, 31
representing someplace other than the palace, 5, 15, 82, 95, 96, 112–13, 133–34, 136
Chaeremon, 131
Chilean gold miners, 164n8
chorus, passim, 25–31
activities commented on by a character, 30, 41, 52, 57, 96, 102
announcing the entrance of a character, 30, 33, 36, 45, 48, 71, 75, 79, 98, 102
exit and reentry during play, 19, 26–27, 29, 52–53, 57, 58, 68–69, 71, 100, 102, 153n67
final exit before end of play, 19, 29, 89, 92, 105–6
identity of, 26–27, 34, 51–53, 65, 67, 79, 81–82, 95–96, 108, 112, 125, 133, 140
secondary, 26–27, 52–53, 102, 152n64, 153n84, 164n17, 168n23, 169n24
size of, 25, 53, 68–69, 102
speaking within an episode, 30–31, 46–47, 49, 71, 77, 79, 89, 104, 116, 129
Churchill, Caryl, 6
Cicero, 147n41, 148n58, 155n32
Cleophon, 131
convention vs. realism, 16, 18–21, 30, 38, 62, 82, 87, 88, 115
costume/clothing, 12, 22, 26, 27, 33, 70–71, 75, 84, 99, 101, 114, 115, 120, 121, 128
Curiatius Maternus, 7–8
curtain, 18, 19
dating the plays, 5, 131–32, 161n47
death offstage, 61, 64, 75, 78, 103–4, 112, 122
death onstage, 31, 33, 46–47, 48, 76–77, 78, 89, 90
didaskalia, 2, 3, 4, 5, 11, 141
Diogenes, 131
dogs, the barking of, 18, 69, 88
dramaturgy and dramaturge, definition of, 1–2, 140–41
dumb-show, 50, 112, 169n33
Eliot, T. S., 147n36
Emerson, Ralph Waldo, 143
Ennius, 91, 131
epithalamium, 26, 81, 83, 84
Euripides, 8, 22, 26, 30, 66, 74, 78, 79, 80, 83–84, 90, 91, 92, 95, 107–8, 116, 122, 131, 138, 139, 143, 150n85, 151n23, 151n30, 155n37, 158n55, 161nn41–43, 163n32, 163n43, 163n45, 164n13, 167n7, 169n33, 170n13, 171n30, 172n4
exostra (ekkyklema), 16, 31, 62–63, 74, 75, 79, 95, 105, 106, 129, 131, 140
extispicium, 8, 17, 18, 21, 24, 33, 36, 38–41, 47, 49, 156n53, 156n58, 158n48
five-act structure, 13, 27–28, 49
French scenes, 4–5, 27
ghosts, 5, 16, 18, 50, 51, 53, 54, 64, 106, 110–11, 116, 118, 119, 124–26, 134–35, 150n18, 165n19, 169n24
gods present onstage, 16, 97, 108, 169–70n37
Goffman, Erving, 2, 3, 12, 19, 24, 25–26, 30, 149n83, 151n25, 152n46
Gracchus, 131
graffito at Pompeii, 5, 13, 142
Grand Valley State University, 6, 37–38, 45, 47
Greek New Comedy, 102, 143, 146n12, 153n89
Guthrie Theatre's
Clytemnestra Project, 14
hair/hairstyle, 23, 41, 51, 70–71, 73, 74, 76, 87, 98, 115, 118, 120, 121, 128, 129–30, 137
hallucination, 20, 59, 60, 90, 94, 100, 103, 106, 109, 119, 127, 134–35, 160n37
Herodotus, 3
Historia Augusta, 148n49
Holmes, Sherlock, 3
Homer, 143, 157n25
Horace, 5, 9–10, 13, 25, 27, 143, 162n24
Hughes, Ted, 6, 37
incomplete line, 126, 135
Into the Woods, 151–2n40
Ion of Chios, 64
Julius Caesar, 12, 48
Julius Secundus, 7–8
Juvenal, 22
Kohn, Rita T., 14
Lewis, Jim, 14
lighting effects, 18
Livius Andronicus, 64
ludi scaenici, 11
Lupu, Michael, 14
Lycophron, 78
machina, 16, 31, 54, 90, 91, 92, 97, 140, 158n47, 163n39
Maecenas, 144
magic, 17, 20, 21, 23, 28, 86–88, 91
Mamercus Aemilius Scarus, 131, 148n57
manuscripts, 5, 6, 7, 32, 33, 35, 43, 44, 71, 77, 89, 96, 111, 112, 116, 117, 132, 133, 135, 138, 142, 153n66, 155n37, 158n3, 165n24, 165n30, 166n41, 166n43, 168n14, 168n23, 171n16, 171n24, 171nn4–5, 172n11, 172n19, 172n21
martial, 173n3
masks, 12, 22–23, 26, 27, 33, 46, 52, 94, 124, 131, 168n20, 169n27
Menander, 153n89, 158n42, 166n33
messenger speech, 20, 27, 45, 48, 57–58, 75, 86–87, 89, 92, 101, 122, 129, 135, 138
metatheater, 63, 66, 79, 142, 169n27
meter, 27–29, 30, 59, 73, 76, 83–84, 89, 122
actors using a meter other than iambic trimeter, 28, 87–88, 120, 130
anapests, 28–29, 30, 35, 41, 46, 52, 55, 56, 58, 59, 67, 69, 75, 79, 85, 87, 97, 98, 105, 106, 114, 115, 120, 129, 130
asclepiadean meter, 83, 100, 117
canticum polymetrum, 29, 41, 42, 52, 58, 61, 84
chorus using iambic trimeter, 28, 30–31, 36, 46, 52, 57, 59, 70, 71, 74, 75, 76, 79, 89, 98, 104, 116, 129
dactylic eexameter, 28, 37, 41, 83, 84
glyconics, 30, 45, 83, 84, 102, 127
sapphic meter, 35, 41, 69, 86, 102, 120, 122, 126, 128
trochees, 28, 36, 77, 87, 122
midline change of speaker, 23, 35, 36, 42, 44, 47, 55, 56, 60, 63, 69, 72, 74, 75, 76, 84, 85, 86, 98, 99, 101, 103, 106, 107, 117, 118, 119, 125–26, 127, 128, 135, 136, 137, 138
