Table of Contents

Introduction / Vayos Liapis, George W.M. Harrison, and Costas Panayotakis.
Opsis, props, scene. The misunderstanding of 'opsis' in Aristotle's 'poetics' / G.M. Sifakis.
Propping up Greek tragedy: the right use of opsis / David Konstan.
Generalizing about props: Greek drama, comparator traditions, and the analysis of stage objects / Martin Revermann.
Actors' properties in ancient Greek drama: an overview / Rob Tordoff.
Skenographia in brief / Jocelyn Penny Small.
Greek tragedy. Aeschylean opsis / A.J. Podlecki.
Casting votes in Aeschylus / Geoffrey W. Bakewell.
Under Athena's gaze: Aeschylus' 'Eumenides' and the topography of opsis / Peter Meineck.
Heracles' costume from Euripides' 'Heracles' to pantomime performance / Rosie Wyles.
Weapons of friendship: props in Sophocles' 'Philoctetes' and 'Ajax' / Judith Fletcher.
'Skene', altar and image Euripides' 'Iphigeneia among the Taurians' / Robert C. Ketterer.
Staging 'rhesus' / Vayos Liapis.
Greek comedy. Actors in old comedy, again / C.W. Marshall.
'The Odeion on his head': costume and identity in Cratinus' Thracian women: Fr. 73 / Jeffrey S. Rusten.
Rehearsing Aristophanes / Graham Ley.
Rome and empire. Haven't I seen you before somewhere? optical allusions in Republican tragedy / Robert Cowan.
Anicius vortit barbare: the scenic games of l. Anicius Gallus and the aesthetics of Greek and Roman performance / George Fredric Franko.
Otium, opulentia and opsis: setting, performance and perception within the Mise-en-scene of the Roman house / Richard Beacham.
Towards a Roman theory of theatrical gesture / Dorota Dutsch.
Lucian's 'on dance' and the poetics of the pantomime mask / A.K. Petrides.
Pantomime: visualising myth in the Roman Empire / Edith Hall.
Integrating opsis : stringed instruments in fifth-century drama / George A. Kovacs.
Bloody (stage) business: Matthias Langhoff's Sparagmos of Euripides' 'Bacchae' / Gonda Van Steen.
From sculpture to vase-painting: archaeological models for the actor / Fiona Macintosh. Drawing on insights from various disciplines (philology, archaeology, art) as well as from performance and reception studies, this volume shows how a heightened awareness of performance can enhance our appreciation of Greek and Roman theatre.