This collection of papers focuses on the forms of the theatre rather than ‘its role within the community or the production of plays’. This is clearly articulated by the editors (p. 11) in their introduction to the 26 essays, complemented by a thematic bibliography and indexes of names, places and subjects. The essays are in English, each with an individual summary and bibliography.
The majority of the papers provide careful accounts of excavations and finds and present new evidence for the theatres in mainland Greece, Asia Minor and the newly discovered theatre of Nea Paphos in Cyprus. A few theatres in Sicily and Magna Grecia are mentioned briefly, notably in reference to the form and function of non-canonical Greek spectator areas. An interesting essay by C. Marconi and D. Scahill on the ‘South Building’ at Selinus identifies it as a non-canonical structure intended for cultic performances. Incidentally, this paper was not read at the conference. Instead, according to the congress programme, Marconi presented his important work on the socio-historical context of stone theatres in Late Classical and Hellenistic Sicily, a work published in K. Bosher (ed.), Theater Outside Athens: Drama in Greek Sicily and South Italy (2012), pp. 175–207.
The discussions in the essays are robust and fruitful, with contributors often revisiting the same issues and occasionally disagreeing with one another. One such discussion surrounds the controversial question of the origin of the semicircular canonical koilon. F. argues that the canonical round theatre emerged gradually, dominated the Hellenistic period, and aimed to improve the visual and acoustic experience of a large number of spectators. In contrast, S. posits that it appeared in the fourth century b.c., when the importance of the leagues increased, in order to host massive political meetings and dramatic performances. According to P. Pedersen, however, by the end of the fifth century b.c., new fashions and trends in philosophy and planning urged some architects to transfer the concept of the rectangular centre space constructions to a circular plan. Finally, C. Papastamati von Moock argues that the famous architect Iktinos is hidden behind the creation of the canonical architectural form of the ancient theatre, and that this morphological transformation took place at the theatre of Dionysos in Athens.
All papers are thought-provoking and of a high standard. Of note are the essays concerning the architecture of the late Greek theatre and its transition to Roman forms. Here, the contribution of J.-C. Moretti and C. Mauduit deserves mention. Their essay, built on literary and epigraphical evidence, identifies the correct terminology used to describe theatrical architecture. Two examples are especially significant: the term διάζωμα designates a flight of seats and not the horizontal corridor that divides the auditorium into several sections; the term θυρώματα refers to the doors of the parodoi (εἴσοδοι) and not to the large openings of the facade of the upper story of the Hellenistic stage-building (cf. M. Mikedaki, ‘Παρατηρήσεις σχετικά με τον όρο ‘θυρώματα’ του αρχαίου ελληνικού θεάτρου’, in Κ. Κyriakos [ed.], Το αρχαίο ελληνικό θέατρο και η πρόσληψή του. Πρακτικά του Δ ́ Πανελλήνιου Θεατρολογικού Συνεδρίου (Πάτρα 26–29 Μαΐου 2011) [2015], pp. 55–70). The other contributors to this collection use these terms erroneously.
There are issues with some of the claims made in individual essays. The addition to the koilon (ἐπιθέατρον) of the theatre at Thorikos is in fact dated to the mid fourth century b.c. and not, as presented, ‘just after the middle of the 5th century bc’ (p. 99). Additionally, the rectilinear bands at the orchestra of Corinth guiding the rectangular formation of the dramatic choruses are presented as foundations for the placement of a screen, ‘which was used in the performance as foreground or to partially shield the orchestra performers’ (p. 200). This is unlikely as the screen would have obscured the audience's view. The characterisation of the movable stage on wheels as ‘scaena ductilis’ is rather unfortunate, given that, according to Servius on Virg. Georg. 3.24, this device consisted of a screen divided in the middle and then drawn aside in both directions, so as to reveal a new scene behind (p. 207). Too many openings (five) are assumed to be fitted in the front of the proskenion of the Hellenistic theatre in the sanctuary of Hemithea at Kastabos. Theatrical conventions of Greek drama allow for only three: a central double doorway and sometimes two side doors (p. 237). And finally, the two inscriptions from the theatre of Orchomenos that belong together (IG VII 3209 + SEG XXX 455) refer most probably to the pinakes on the πρόθυρα (i.e. the doors of the parodoi) rather than the pinakes on the stage building (p. 358) (see J.-C. Moretti, ‘Forme et destinations du proskènion dans les théâtres hellenistiques de Grèce’, in B. Le Guen [ed.], De la scène aux gradins. Pallas 47 [1997], pp. 13–39, esp. p. 23, S. Zoumbaki in S. Gogos, Το αρχαίο θέατρο των Οινιαδών [2003], p. 186 n. 257 and D. Knoepfler, BE 2011, no. 294).
The provision of illustrations is generous, and I noted only a few typographical errors – for example, ‘scena ductilis’ should be ‘scaena ductilis’, p. 207; ‘are used’ is duplicated on p. 409; ‘Polacco 1999’ should be ‘Polacco 1990’, p. 41 nn. 6 & 7; and the abbreviation ‘Musti & Torelli 1986’ (p. 367) is absent from the essay's individual bibliography – and the absence of a few cities from the index of names and places, such as Koroneia, Plataiai and Tanagra. My one criticism would be that some ground plans lack scale and orientation (e.g. p. 179 fig. 1; p. 199 fig. 9) or omit important architectural features, such as the omission of the two underground passages between the proskenion and the orchestra in the plan of the Hellenistic theatre at Corinth (p. 196 fig. 5 and p. 199 fig. 9).
The editors deserve to be congratulated for organising the conference, and supervising the production of this successful volume of proceedings. This is a well-presented and useful compendium that is highly recommended for anyone studying ancient Greek theatre architecture and especially for excavators who ‘are often not sufficiently familiar with scholarly research on theatres’, as H.P. Isler points out (p. 26). This is a welcome contribution to the discussion so far.
