DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.749#0085
IS s
THE THEATRE
I 27
suggests that these walls may have supported a ramp or stair-
case leading to the stage, and compares them with the plan of
the stage and proscenium at Priene. The space at the left of
the scene is wider than that at the right, and in Prokesch von
Osten’s description a staircase is mentioned at the left of the
scene as leaning “against the orchestra”; but as no trace of
any such staircase was found next the orchestra, it might be
assumed that he meant to say “ against the scene,” which
would suit exactly the existing walls and Puchstein’s hypothe-
sis. In recent years many Greek theatres have been excavated,
and where the proscenia have been discovered they have been
almost invariably of one type, namely, small, engaged Doric
columns with traces of the wooden shutter-boards between.
That the structure was called the “proscenium.” and the shut-
ter-boards the “ pinakes” we know from the inscription in the
theatre at Oropos in Attica (see Fig. 3).1 A photograph of
Fig. 1. Section through Balustrade
the proscenium and scene from the little theatre at Priene is
given on page 126. This is taken from the recently published
account of the German excavations.2 It is one of the most
perfect examples yet discovered of a Greek stage, and the one
at Assos must have greatly resembled it. It has generally been
supposed that the Greek actors stood on the wooden door
of the proscenium, while the chorus danced and sang below
in the orchestra, as is expressly stated by Vitruvius, whose de-
scription of the “ pulpitum ” seems to be verified by recent
excavations.
Dr. Dorpfeld, who in his masterly and comprehensive work
on the Greek theatre,3 gives exact drawings and descriptions
1This drawing was taken from the publication of the Greek Archaeological
Society, IIpaKT/ca, 1886.
2 Priene : Ergebnisse der Ausgrabungen und Untersuchungen in den Jahren
1895—1898. Von Theodor Wiegand und Hans Schrader. Berlin, 1904.
8 Das Griechische Theater. Von Wilhelm Dorpfeld und Emil Reisch.
Athen, 1896.
Fig. 2. Section through Upper Diazoma
of the most important Greek theatres, has supported the theory
that the actors did not speak from a raised stage, but were on
a level with the orchestra. There has been much discussion
on this point, and the controversy is still far from settled.
Frazer, in his Commentary on Pausanias,4 vol. Ill, page 254,
has summed up the evidence against this theory as follows:—
“ Dr. Dorpfeld argues that the stage-buildings in existing Greek
theatres were not stages (Xo-yeia) on which the actors acted, but merely
backgrounds in front of which they appeared. But this theory con-
tradicts (1) the express testimony of Vitruvius (v. 8), of Pollux (who
says, iv. 127, that the actors ascended the stage from the orchestra by
ladders or staircases), and of other ancient writers who speak of
actors ascending and descending (Aristophanes, Knights, 149, Wasps,
1342, 1514, Eccles, 1152; Schol. on Aristophanes, Knights, 149;
Plato, Symposium, p. 194 b); (2) the evidence of Greek vases, on
which the actors are plainly depicted acting on a raised stage adorned
in front with columns like the stages at Epidaurus and Oropus (Bau-
meister’s Denkmiiler, p. 1751 sqq.); (3) the evidence of existing Greek
theatres in which may be seen structures bearing all the outward ap-
pearance of having been stages and answering fairly to Vitruvius’s
description of the Greek stage; (4) the evidence of a Delian inscrip-
tion of the year 282 b.c. in which the stage-building is definitely
called the Xoyeiov or place where the actors spoke {Bull. de Corresp.
Hell'en. 18 (1894), pp. 162, 165 sqq.; O. Navarre, Dionysos, p. 307
sqq.)', and (5) the rules of probability, since it is very unlikely
{a) that substantial structures, deep as well as long, such as we find in
existing Greek theatres, should have been built merely as a back-
ground, when a simple wall would have answered the purpose ; {b) that
the actors should have been concealed from many of the spectators,
especially from those who occupied the best seats in the front row, by
the interposition of the chorus, as they must have been if the chorus
intervened between them and the audience, as Dr. Dorpfeld supposes.
On all these grounds Dr. Dorpfeld’s theory may be rejected, at least
until he supports it by much stronger arguments than he has hitherto
adduced.”
4 Pausanias'h Description of Greece, translated with a Commentary, by J. G.
Frazer. Macmillan & Co. London, 1898.
Fig. 3. The Proscenium from the Theatre at Oropos
THE THEATRE
I 27
suggests that these walls may have supported a ramp or stair-
case leading to the stage, and compares them with the plan of
the stage and proscenium at Priene. The space at the left of
the scene is wider than that at the right, and in Prokesch von
Osten’s description a staircase is mentioned at the left of the
scene as leaning “against the orchestra”; but as no trace of
any such staircase was found next the orchestra, it might be
assumed that he meant to say “ against the scene,” which
would suit exactly the existing walls and Puchstein’s hypothe-
sis. In recent years many Greek theatres have been excavated,
and where the proscenia have been discovered they have been
almost invariably of one type, namely, small, engaged Doric
columns with traces of the wooden shutter-boards between.
That the structure was called the “proscenium.” and the shut-
ter-boards the “ pinakes” we know from the inscription in the
theatre at Oropos in Attica (see Fig. 3).1 A photograph of
Fig. 1. Section through Balustrade
the proscenium and scene from the little theatre at Priene is
given on page 126. This is taken from the recently published
account of the German excavations.2 It is one of the most
perfect examples yet discovered of a Greek stage, and the one
at Assos must have greatly resembled it. It has generally been
supposed that the Greek actors stood on the wooden door
of the proscenium, while the chorus danced and sang below
in the orchestra, as is expressly stated by Vitruvius, whose de-
scription of the “ pulpitum ” seems to be verified by recent
excavations.
Dr. Dorpfeld, who in his masterly and comprehensive work
on the Greek theatre,3 gives exact drawings and descriptions
1This drawing was taken from the publication of the Greek Archaeological
Society, IIpaKT/ca, 1886.
2 Priene : Ergebnisse der Ausgrabungen und Untersuchungen in den Jahren
1895—1898. Von Theodor Wiegand und Hans Schrader. Berlin, 1904.
8 Das Griechische Theater. Von Wilhelm Dorpfeld und Emil Reisch.
Athen, 1896.
Fig. 2. Section through Upper Diazoma
of the most important Greek theatres, has supported the theory
that the actors did not speak from a raised stage, but were on
a level with the orchestra. There has been much discussion
on this point, and the controversy is still far from settled.
Frazer, in his Commentary on Pausanias,4 vol. Ill, page 254,
has summed up the evidence against this theory as follows:—
“ Dr. Dorpfeld argues that the stage-buildings in existing Greek
theatres were not stages (Xo-yeia) on which the actors acted, but merely
backgrounds in front of which they appeared. But this theory con-
tradicts (1) the express testimony of Vitruvius (v. 8), of Pollux (who
says, iv. 127, that the actors ascended the stage from the orchestra by
ladders or staircases), and of other ancient writers who speak of
actors ascending and descending (Aristophanes, Knights, 149, Wasps,
1342, 1514, Eccles, 1152; Schol. on Aristophanes, Knights, 149;
Plato, Symposium, p. 194 b); (2) the evidence of Greek vases, on
which the actors are plainly depicted acting on a raised stage adorned
in front with columns like the stages at Epidaurus and Oropus (Bau-
meister’s Denkmiiler, p. 1751 sqq.); (3) the evidence of existing Greek
theatres in which may be seen structures bearing all the outward ap-
pearance of having been stages and answering fairly to Vitruvius’s
description of the Greek stage; (4) the evidence of a Delian inscrip-
tion of the year 282 b.c. in which the stage-building is definitely
called the Xoyeiov or place where the actors spoke {Bull. de Corresp.
Hell'en. 18 (1894), pp. 162, 165 sqq.; O. Navarre, Dionysos, p. 307
sqq.)', and (5) the rules of probability, since it is very unlikely
{a) that substantial structures, deep as well as long, such as we find in
existing Greek theatres, should have been built merely as a back-
ground, when a simple wall would have answered the purpose ; {b) that
the actors should have been concealed from many of the spectators,
especially from those who occupied the best seats in the front row, by
the interposition of the chorus, as they must have been if the chorus
intervened between them and the audience, as Dr. Dorpfeld supposes.
On all these grounds Dr. Dorpfeld’s theory may be rejected, at least
until he supports it by much stronger arguments than he has hitherto
adduced.”
4 Pausanias'h Description of Greece, translated with a Commentary, by J. G.
Frazer. Macmillan & Co. London, 1898.
Fig. 3. The Proscenium from the Theatre at Oropos