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040			_aUtSlPG
041		7	_aen _2iso639-1
050		4	_aPA
100	1		_aHaigh, A. E. _q(Arthur Elam), _d1855-1905
245	1	4	_aThe Attic theatre
250			_aThird edition, revised and in part re-written by A. W. Pickard-Cambridge.
264		1	_aSalt Lake City, UT : _bProject Gutenberg, _c2025
300			_a1 online resource : _bmultiple file formats
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aRelease date is 2025-07-23
508			_adeaurider and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)
520			_a"The Attic theatre : a description of the stage and theatre of the Athenians,…." by A. E. Haigh is a scholarly historical study written in the late 19th century. It examines the physical theatres, staging practices, machinery, festivals, competitions, and personnel of Athenian drama, drawing on inscriptions, archaeological remains, and ancient texts. The work aims to reconstruct how Attic performances actually looked and operated, emphasizing institutional and technical details rather than literary criticism. The opening of the work sets out its purpose and method, explains the reliance on inscriptions, excavations, and scattered ancient notices, and notes how later revisions incorporate new finds and debates about stage-buildings and performance space. Prefaces review shifting scholarship (especially controversies around the Greek stage), additions of evidence and illustrations, and updated appendices; a contents overview maps chapters on contests, preparation, theatre architecture, scenery and machines, actors, chorus, audience, and inscriptions. The narrative then begins with the religious and civic character of Athenian drama, performed only at Dionysiac festivals and organized as state-run competitions with prizes and juries. It details the City Dionysia—its grand procession, dithyrambic contests by tribe, and tragic program of three poets each presenting three tragedies plus a satyr play (often in linked trilogies/tetralogies, especially under Aeschylus), later shifting to fewer new plays and occasional revivals. Comedy appears later at the City festival (three, then five poets, one play each) and eventually includes revivals chiefly from the New Comedy. The Lenaea is sketched as a smaller, winter, largely Athenian festival where comedy predominates, while Rural Dionysia feature widespread revivals across Attica and the Anthesteria has only minor performative elements. Finally, the selection and voting process for judges is described—carefully randomized and oath-bound, yet sometimes vulnerable to pressure and bribery—before the discussion breaks off. (This is an automatically generated summary.)
534			_pOriginally published: _cOxford: Henry Frowde, 1907
653			_aGreek drama -- History and criticism
653			_aTheater -- Greece -- Athens -- History -- To 500
653			_aAthens (Greece) -- Intellectual life
700	1		_aPickard-Cambridge, Arthur Wallace, Sir, _d1873-1952
856	4		_uhttps://archive.org/details/3rdattictheatred00haiguoft
856	4	0	_uhttps://www.gutenberg.org/ebooks/76555
999			_c117280 _d117280