LIST OF FIGURES vii
ACKNOWLEDGMENTS ix
A NOTE TO THE READER xi
INTRODUCTION 1
CHAPTER ONE: The Theater and Athenian Spatial Practice 35
The Theater of Dionysus 37
The Sanctuary of Dionysus Eleuthereus 41
The City Dionysia: Procession, Sacrifice, and the Secular 44
Inside Out, Outside In: Land, Livelihood, and Living Space in the Polis 54
CHAPTER TWO: Space for Returns 76
The Oresteia: Homecoming and Its Returns 77
Heracles and Home 100
CHAPTER THREE: Eremetic Space 114
Antigone: Desolation Takes the Stage 115
Ajax: Alone in Space, In and Out of Time 123
Philoctetes: The Island eremia 138
Prometheus Bound: The Ends of the Earth 156
CHAPTER FOUR: Space and the Body 168
Hecuba: The Body as Measure 175
Euripides' Electra: The Intimate Body 187
The Bacchae: The Theatrical Body 200
CHAPTER FIVE: Space, Time, and Memory: Sophocles' Oedipus Tyrannus 215
CHAPTER SIX: Space and the Other 236
Persians 239
The Other Medea: Woman, Barbarian, Exile, Athenian 251
CONCLUSION 270
APPENDIX: Theories of Space 273
NOTES 297
BIBLIOGRAPHY 405
INDEX 435

Is "space" a thing, a container, an abstraction, a metaphor, or a social construct? This much is certain: space is part and parcel of the theater, of what it is and how it works. In The Play of Space, noted classicist-director Rush Rehm offers a strikingly original approach to the spatial parameters of Greek tragedy as performed in the open-air theater of Dionysus. Emphasizing the interplay between natural place and fictional setting, between the world visible to the audience and that evoked by individual tragedies, Rehm argues for an ecology of the ancient theater, one that "nests" fifth-century theatrical space within other significant social, political, and religious spaces of Athens.
Drawing on the work of James J. Gibson, Kurt Lewin, and Michel Foucault, Rehm crosses a range of disciplines--classics, theater studies, cognitive psychology, archaeology and architectural history, cultural studies, and performance theory--to analyze the phenomenology of space and its transformations in the plays of Aeschylus, Sophocles, and Euripides. His discussion of Athenian theatrical and spatial practice challenges the contemporary view that space represents a "text" to be read, or constitutes a site of structural dualities (e.g., outside-inside, public-private, nature-culture). Chapters on specific tragedies explore the spatial dynamics of homecoming ("space for returns"); the opposed constraints of exile ("eremetic space" devoid of normal community); the power of bodies in extremis to transform their theatrical environment ("space and the body"); the portrayal of characters on the margin ("space and the other"); and the tragic interactions of space and temporality ("space, time, and memory"). An appendix surveys pre-Socratic thought on space and motion, related ideas of Plato and Aristotle, and, as pertinent, later views on space developed by Newton, Leibniz, Descartes, Kant, and Einstein. Eloquently written and with Greek texts deftly translated, this book yields rich new insights into our oldest surviving drama.

Rush Rehm is Associate Professor of Drama and Classics at Stanford University and a freelance theater director. He is the author of Marriage to Death (Princeton) and Greek Tragic Theater.