| Preface |
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xi | |
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The Theartical Seasons and the Dawn of Comedy |
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1 | (12) |
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Chronology of an Apprenticeship |
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13 | (20) |
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Pillars and chronological clues |
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The contest without refreshments |
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`Ever since the Virtuous and the Inverted' |
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Supremacy overthrown, or the new poets of 428--426 |
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Babylonians, or concerning the superstition of the moderns |
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The navarchs of 427--425 and the navarch of 424 |
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33 | (45) |
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Aristophanes, the coryphaeus |
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The identity of characters in Aristophanes |
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Some notes on sigla and on the theatrical texts |
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Acharnians: the Pnyx, the Attic countryside, Athens |
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The parodos, the statue of Dionysos, the spectators |
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Dikaiopolis chez Euripides: the ekkyklema |
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Aristophanic interiors: some notes on Aristophanes and the theatre of Euripides |
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From Dikaiopolis' market to the allusive epilogue in the theatre of an off-stage contest |
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The dramatic time of Acharnians and Aristophanes' synchronistic method |
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Notes on certain properties of the orchestra, the scenic facade, the chorus and the actors |
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Distribution of the parts and notes on Aristophanes' use of the first three actors and of the extras |
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Nikarchos: actor first, then actor no longer |
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The unlocked door and the serried ranks |
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78 | (12) |
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`Escort the poet with propitious Lenaite clamour' |
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The economy of Kinghts and its prologue |
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Notes on the agons and exodos of Knights |
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The facade-Athens and the orchestra-Pnyx |
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Characters, actors and choreutai |
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Fearful Nikias and the frightened Sausage-seller |
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90 | (31) |
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The two versions of Clouds, both for contest at the Dionysia |
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Aristophanes, the didaskalos of Clouds |
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A regimen for the performance of Clouds and Aristophanes' normal practice in dealing with the actors |
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Clouds unperformed and Clouds performed |
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The enduring coexistence of two milieux |
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The scenic framework and substance of Clouds |
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The Socratic milieu. Pauses and progressions in the structural action |
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The aerial appearance of Socrates |
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The closing lines. Characters and actors |
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121 | (12) |
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The exodos and structural action |
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The house and scenic organization |
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133 | (14) |
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`Lacking the same rough grit as before.' The economy of Peace and its prologue |
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The celestial residence of Zeus and the cavern of Peace |
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Harvesthome, Holiday and Peace. The Greek cities |
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Characters and actors. The child parts |
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`The victor was [ not] the actor Hermon' |
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147 | (18) |
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The prologue and structural action of Birds |
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The land of Hoopoe and the city of the birds |
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Hoopoe-Tereus and the parade of the twenty-eight birds |
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Characters, actors and extras |
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165 | (21) |
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The contest of Lysistrata |
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Lysistrata's two-edged and co-ordinated plot |
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The characters in the exodos |
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Who speaks to the Spartan Herald? |
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From the houses of the prologue to the Propylaea and the rocks of the Acropolis |
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Distribution of parts. The mob of troublemakers |
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186 | (12) |
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Euripides, the Lenaia and the contest of the preceding year |
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Euripides, the schemer and victim of Thesmophoriazusae. Lysistrata and Thesmophoriazusae, fellow-competitors |
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The scenic organization and stage-technique of Thesmophoriazusae |
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198 | (21) |
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A short account of the revision of Frogs |
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The second production of Frogs. Frogs and the circulation of dramas |
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On the bipartite economy of Frogs and some artistic consequences of the revision |
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The journey in Frogs and the landscape. The revision of the comedy and its stage-technique |
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A fragment of Aeschylus. Oral poetry |
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219 | (8) |
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Assemblywomen and the draw for position on the programme |
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Dramaturgical decline and structural action in Assemblywomen |
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The treatment of the chorus. Characters and actors |
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The rotation of tenants in the scenic facade |
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227 | (7) |
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The two alternating protagonists of Plutus and the comedy's artistic economy |
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The coryphaeus and the choreutai in Plutus. Characters and actors |
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Elements of a Theatrical Career |
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234 | (9) |
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The Disorderly Wasps And An 18 x 2 Tetrameter Module |
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243 | (7) |
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`How could two choral songs have been transposed?' The paralysis of the bibliocrat |
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Actors, choreutai and youths: another accident chez Aristophanes |
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A structural form dominated by rhythm |
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Next to the parabasis and to the epirrhematic agon |
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| Notes |
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250 | (21) |
| Bibliography |
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271 | (6) |
| An index of dominant themes The Secret Apprentice |
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275 | (2) |
| Index of modern authors |
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277 | |
