Athens is a city which is immensely and rightly proud of its past. For a period of roughly three centuries, the polis of Athens stood, if not in a position of unchallenged supremacy among the cities of Hellas, then at the very least among its three most important polities. Its fledgling Empire, though small by the standards later set by Alexander or the Romans, or even by those of its ancient enemy Persia, nonetheless encompassed cities as far afield as Asia Minor and Southern Italy, a remarkable fact considering such expansion was achieved by the inhabitants of a single city and its immediate surroundings, rather than by an entire nation. In virtually all fields of human endeavor Athens was so much at the forefront of dynamism and innovation that the products of its most brilliant minds remain not only influential but entirely relevant to this day. In the field of medicine, the great physician Hippocrates not only advanced the practical knowledge of human anatomy and care-giving but changed the entire face of the medical profession. The great philosophers of Athens, men like Aristotle, Socrates, and Plato, literally revolutionized the way people thought about topics like logic, reason, and good and evil. Great architects and sculptors such as Phidias produced works of art of such breathtaking realism and startling dynamism that they later formed the driving force behind the resurgence of sculpture during the Renaissance and served as masters to artists such as Michelangelo, Bernini, and Donatello. From the preface:"MY purpose in this book has been to collect and piece together all the available information concerning the outward features and surroundings of the old Athenian dramatic performances; in other words, to write a history of the Attic drama from the theatrical, as opposed to the literary, point of view. The subject is one which has been practically revolutionized during the last half-century, partly through the labours of various scholars in interpreting the notices of the old grammarians, but more especially owing to the rich discoveries of inscriptions relating to theatrical affairs, and the information supplied by excavations in the old Greek theatres. But in spite of the copious accession of fresh materials, it is now more than fifty years since any work has appeared in English, in which this particular department of Greek dramatic history has been treated in a comprehensive manner. The neglect is all the more remarkable, as the subject is undeniably of great interest and importance, and this for two reasons. In the first place it is difficult to understand and appreciate the peculiar qualities of the existing Greek plays, without acquiring some knowledge of the circumstances under which they were produced, and the limitations within which the ancient dramatic poets had to work. In the second place, as the Attic drama was essentially a public institution, and formed one of the most conspicuous elements in the national life, the various details connected with its management are incidentally most instructive, because of the light which they throw upon the habits, feelings, and tastes of the old Athenians. It is owing to these several considerations that the present work has been undertaken.Unfortunately, with the exception of a list of names and definitions in Pollux, and a few observations upon the theatre in Vitruvius, none of the ancient treatises, which dealt with the various portions of the subject, have been preserved."