i) Finally, Megara was actually under the sway of Athens during 460/59-446/45 B.C. The opportunity for the exchange of ideas between Megara and Athens would naturally be most favorable at that time.
In view of the preceding considerations, I am of the opinion that actors were introduced into Athenian comedy shortly before 450 B.C.
Fig. 22.—Ground Plan of a Greek Theater with Names of Its Parts
Fig. 23.—Cross-Section of a Greek Theater with Names of Its Parts
The Greek Theater.[118]—Since, as we have seen, both tragedy and comedy among the Greeks were choral by origin, the center of their theaters was a circular “dancing place” called an orchestra[119] (ὀρχήστρα), in the middle of which stood a thymele (θυμέλη) or “altar” (Figs. [22 f.]).[120] When an actor was added to the tragic choreutae, it became necessary to provide a dressing-room where he might change his mask and costume. This temporary structure was called a σκηνή (“hut”: our English word “scene”), and at first stood outside the spectators’ range of vision. Afterward it was brought immediately behind the orchestral circle and then served also as a background in front of which the dramatic action was performed. Its face was pierced by doors, usually three but sometimes only one, which were conventionally thought of as leading into as many different houses. The scene-building often had two projecting side wings called parascenia (παρά, “beside” + σκηνή). The front of the scene-building and of the parascenia came to be decorated with a row of columns, the proscenium (πρό, “before” + σκηνή). The top of this proscenium was used by actors when they had occasion to speak from the housetop or were thought of as standing upon some elevation. In the course of time it was employed also for divinities, especially in epiphanies at the close of tragedies (see [p. 292], below). Since this spot was never invaded by the singing or dancing of the chorus and was the only place reserved for actors exclusively, it came to be called the logium (λογεῖον, from λέγειν to “speak”) or “speaking place.”[121] Behind the logium was the second story of the scene-building, known as the episcenium (ἐπισκήνιον; ἐπί, “upon” + σκηνή); its front wall was pierced by one or more large doorways. Past each parascenium a “side entrance” or parodus (πάροδος; παρά, “beside” + ὁδός, “passage”) led into the orchestra. These entrances were used by the audience before and after the play, and during it by the actors (who could use also the doors in the scene-building) and the chorus. The parodi were often framed by beautiful gateways (Figs. [51 f.]). The remainder of the orchestral circle was surrounded by the auditorium, the “theater” proper.[122] Chorus and actors stood on the same level in the orchestra or in the space between it and the scene-building. There was no stage in the Greek theaters until about the beginning of the Christian era.