The Bacchae's Role In Ancient Greek Theatre

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A common argument amongst scholars of theatre history is whether or not there was a raised stage between the skene and the orchestra. While researching archaeologists arguments, I have noticed that most of them are consistent with the main parts of the stage. The skene is the background or the building that would store masks ect., the orchestra is where the chorus performed, the theatron is where the audience sat, and the parados is an isle where entrances and exits were made. Over time, most of these names have been consistent. The idea of a raised stage, however has not. While looking through articles and books, I found this idea to be called a raised stage, platform, or stand. When analyzing different types of Greek theaters and looking

One argument that the raised stage did not exist is that it effects the intimacy in which the actors and the chorus interact with each other. The chorus plays a large part in Ancient Greek plays and in many cases, having a separate stage for the actors and for the chorus makes the connection awkward and difficult. For example, in Richard F. Taflinger’s article “The Attic Greek Theatre: Was There a Stage,” he discusses Euripides’ The Bacchae. In the play, there is a scene where the women’s chorus is to swirl around the the main actors who, if there was a stage, would be on it. Thinking logistically, it would be more effective to have the women swirling around the actors themselves rather than actors on a higher platform. This would cause “a scene of superiority over foolishness” (CITE). When all the actors are in the dancing place or

For example, a large traditional chorus that is used in some plays could give the impression that it was filled, but that was quickly changed when the chorus dwindled to about 12. According to Taflinger, “an orchestra 66 feet across (Brockett, 1968) is over 3400 square feet in area. If each of the 12 chorus members needs two square feet to stand, that is only 24 square feet, or less than .7 of 1% of the area of the orchestra, leaving more than enough room for two or three actors” (CITE). With these measurements there is evidence that there is more than enough room to fit not only a chorus as well as main actors, but 141 choruses or 1700 people. Many will argue for the raised stage saying that Greek plays are about seeing rather than hearing, but with the right costumes and the difference in masks, it would not be difficult to distinguish between the actors and the chorus. Through the gestures and movements performed, the audience would be able to understand the story they already know. According to David Wiles and his book Tragedy in Athens, “there was no space for a stage building at Thorikos, and only a temporary façade could have been erected” (Wiles 33). One argument for having a stage is so the actors with lines could be heard amongst the thousands of citizens watching. Wiles argues back that “the curvature of the sides of the auditorium creates a good