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(Λύκων; Lýkōn). [German version] [1] Athenian, late 5th cent. BC Athenian, supported the rebellion of Pissuthnes against the Great King around 420 BC. Bribed by Tissaphernes, L. fell away from Pissuthnes and received several cities as territory under his rule in recompense (Ctesias FGrH 688 F 15,53). Schmitz, Winfried (Bielefeld) [German version] [2] Prosecutor of Socrates Prosecutor of Socrates (Pl. Ap. 23e; 36a); satirized by comedians (Eupolis fr. 61; 232; Metagenes fr. 10 PCG; schol. Aristoph. Vesp. 1169) because of his poverty, foreign origin, …

[German version] Impresario, director and actor; leader of a troupe of actors in Rome in the 2nd cent. BC. He provided successful performances for the aediles who organized the plays, at the same time supporting authors who enjoyed his confidence:  Caecilius and esp.  Terentius. He performed the latter's Phormio to the author's entire satisfaction (Donatus on Ter. Phorm. 315). He also twice took on the role of a supportive and combative prologue: for the Heautontimoroumenos and for the 3rd performance of the Hecyra (160 BC). His advocacy of intellectual comedy and purity of diction ( pura…

[German version] This item can be found on the following maps: Dead Sea (textual finds) (Greek Μασάδα, Masáda; Hebrew mṣdh, Arabic Tall al-Sab). The name, which is recorded only in Greek and Latin, is probably derived from the Aramaic meṣādā (‘fortress’). It stands in isolation on a rocky plateau on the western shore of the Dead Sea, a rhomboid 600 m north-south and 300 m east-west; 50 m above sea-level with steep cliffs c. 350 m above ground level in the east and c. 150 m in the west. Jos. BI 7,280-294 offers a detailed description, and it is mentioned in Plin. HN 5,73 and S…

[German version] I. Phoenicia Facial masks and head protomes (also shortened human representations including the neck and shoulder part) are a common type of monument since the 9th/8th cent. BC in the Phoenician-Punic world. They spread from the Levant (here going back to the 2nd millennium, e.g. in Tell Qāṣila, also from Tyrus, Amrīt, Akhzib, Hazor, Sarepta etc.) via Cyprus, Carthage, Sicily (Motya), Sardinia and Ibiza into the far west (Cadiz). The masks (with openings for eyes and mouth) mostly …

[German version] The Greeks called any mechanical device μηχανή but in the narrow sense it referred to the Greek theatre machinery: a crane installed behind the stage as a flying apparatus that can be swung into the scene to take the characters in a drama to a remote location or cause gods to appear up high. The mechane is referred to in drama texts and later sources under many names: κρεμάθρα ( kremáthra, ‘suspension device’, Aristoph. Nub. 218), γέρανος ( géranos, ‘crane’ [in both senses], Poll. 4,130), αἰώρημα ( aiṓrēma, ‘swing’, schol. Aristoph. Pax 80), κράδη ( krádē, ‘fig branch’, Ari…

[German version] (Καλλιππίδης; Kallippídēs). Tragic actor of the 5th/4th cents. BC, who, popular and controversial, was remembered long after his death. He himself was many times the victorious  protagonist, for example at the Lenaia of the year 418, but the tetralogy of his poet did not win a prize [1]. His expressive gesticulation, aimed at producing a realistic effect, was modern in its style; it displeased Mynniscus who had once appeared with Aeschylus and who described the young colleague as a…

[German version] (θεωρικόν; theōrikón). Public payment to Attic citizens for participating in festivals, particularly dramatic performances. The introduction of the t. (also in the plural θεωρικά/ theōriká sc. χρήματα/ chrḗmata) was sometimes ascribed to Pericles [1], who was suspected of bribing the people with it (Plut. Pericles 9), sometimes to Agyrrhius, who c. 400 BC had expenses paid to participants in the Ekklēsía; there is no contemporary evidence, however. Apparently, Eubulus [1] was c. 350 the first to regularly use public money for subsidising visits to th…

[German version] I Greek (Θεόδωρος; Theódōros). [German version] [I 1] Of Samos, Greek architect, bronze sculptor and inventor, Archaic period Multitalented Greek inventor, architect, bronze sculptor and metal worker ( toreutḗs; Toreutics) of the Archaic period from Samos (for the occupational image cf. architect). His father was Telecles (Hdt. 3,41; Paus. 8,14,8; 10,38,6) or according to other sources (Diog. Laert. 2,103; Diod. Sic. 1,98) Rhoecus [3]; his name is so frequently mentioned in conjunction with the latter that …

[German version] (δευτεραγωνιστής; deuteragōnistḗs). ‘Second actor’, introduced by Aeschylus, but the designation deuteragonistes is more recent. Whilst the ‘first actor’ ( prōtagōnistḗs) traditionally took on the main role ( Átossa, Oidípous, Mḗdeia) and could identify with this, the deuteragonistes ─ or even the ‘third actor’ ( tritagōnistḗs) ─ had to cope with a large number of different roles. The amount of text that had to be mastered by the deuteragonistes was considerable and rapid mask changes required great declamatory skill but brought less fame than th…

[German version] Tragedian in 1st-cent. BC Rome; respected freedman ( nostri familiaris Cic. Ad Q. Fr. 1,2,14), achieved wealth as a ‘star’. Scattered mentions provide no coherent picture of his art. In the role of Atreus, carried away by emotion, he is said to have killed a servant with his sceptre (Plut. Cicero 5,5), but  Cicero says his anger was simulated (Cic. Tusc. 4,55). His use of facial expression was praised (Cic. Div. 1,80); however Fronto (p. 143,13-14) emphasizes his intensive study of masks […

Name of a plebeian family that gained prominence during the Second Punic War (Schulze, 266). Elvers, Karl-Ludwig (Bochum) [German version] [1] C., L. Antiquarian author, 1st cent. BC? Antiquarian author probably of the late Republican period (1st cent. BC; since [6] differentiated from the historian L.C.Alimentus). Seven works of grammarian, antiquarian and legal content are known from quotes in Festus, Gellius and others (fragments: [1. 1,252ff.; 2. 71ff.]): De verbis priscis, De fastis, De comitiis, De consulum potestate, De officio iurisconsulti (at least two vols.), De re …

(ὑποκριτής; hypokritḗs). [German version] I. Concept The underlying verb ὑποκρίνομαι ( hypokrínomai) means in Homer ‘to make a decision upon request’, ‘to interpret’ (on omens: Hom. Il. 12,228 or dreams: Hom. Od. 19,535; 555) or ‘to answer’ (Hom. Od. 2,111). The basic meaning of the noun hypokrites, which is first attested in the 5th cent. BC, was thus postulated now as ‘answerer’ (to questions of the director of the chorus), now as ‘interpreter’ (of the myth which the chorus performed). It refers to the speaker who appeared opposite the si…

[German version] ( archimimus). Probably an honorific for prominent actors in the  mime, independent of their role within the ensemble, so that there might be several archimimi in one troupe [1.179-181]. As women also took part in the Mime, there were archimimae (CIL VI 10106/7). The archimimus Sorix equalled the comic actor  Roscius in popularity (Plut. Sulla 36,2). Stars bore pseudonyms: Lepos (Porph. Hor. Sat. 2,6,72), Favor (Suet. Vesp. 19,6); list of names [2.1583]. As freed persons, archimimi played for day wages ( archimimus diurnus, CIL XIV 2408) or for a fixed salary ( archimimu…

[German version] (χορηγός; chorēgós). Literally ‘chorus leader’ (in lyric texts); in Athens the ‘sponsor of a lyric or dramatic chorus. The choregoi themselves were responsible for assembling their chorus of citizens, looking after their upkeep during the month of rehearsals, seeing to the smooth running of rehearsals, which were led by the poet or by a professional chorodidaskalos, and above all for meeting the costs. (In Plautus the choregos became a lender of costumes; in Plaut. Curc. 462-486 he makes a metatheatrical appearance.) Many ancillary services ( parachoregema) were c…

[German version] I. Term Term for the Roman actor. Livy (7,2: according to Varro) reports that after a plague epidemic in 364 BC, dancers ( ludiones) with a flautist were called from Etruria in order to purify the city with a cultic ceremony. The local youth is said to have imitated their dances and added satirical verses until finally professional artists, for whom the Etruscan word histrio was used, developed this improvization further.  Livius Andronicus only had to add a fable to create the tragedy. This bold combination of Italian ludi scaenici and the Greek artistic drama contai…

[German version] (τριταγωνιστής; tritagōnistḗs). The third actor in a tragedic tetralogy, introduced by Sophocles [1]. In the competition for  best performer (at the Dionysia from 449 BC onwards) only the prōtagōnistḗs would take part. He would take the main role and possibly also powerful single-actor scenes, the two lesser actors (particularly the tritagonistes) would master a large number of different male and female roles; this would require linguistic and performing expression of great variety. In Soph.  OC two performers (Oedipus and Antigo…

[German version] I. Stage competitions Competitions, which included the   skēnḗ (the stage and the podium in front of it for the actor's appearance) in Greek theatre, that is dramatic performances. Originally, the skēnḗ was away from the orchḗstra ( Theatre I) and was used only for changing costumes and masks; it probably was not moved into the audience's view and integrated into the play until 458 BC with the ‘Orestia’ of  Aeschylus [1]. Nevertheless, early dramatic competitions are also thought to have been staged. Blume, Horst-Dieter (Münster) A. Greece [German version] 1. Developm…

Italian nomen gentile, with many bearers in Ameria (CIL XI 4507-16) and Lanuvium (CIL XIV 3225-7). Fündling, Jörg (Bonn) I. Republican Period [German version] [I 1] R., L. Roman envoy killed in 438 BC by the Fidenati A Roman envoy killed in 438 BC together with his three colleagues by the Fidenati (Fidenae); because of this all three were honoured with statues on the Rostra (Cic. Phil. 9,4; Liv. 4,17,2-6). Elvers, Karl-Ludwig (Bochum) [German version] [I 2] R., Sex. Father and son; the latter was defended by Cicero in 80 BC against the accusation of patricide and embezzlement From Ameria; so…

[German version] (ἠχεῖα; ēcheîa). Instruments/objects producing or amplifying sound (echo). Vitruvius refers to echia as bronze vessels with a wide opening, which were used for resonance reinforcement in the theatre (Vitr. De arch. 1,1,9; 5,5). Tuned to various keys, they were supposedly installed under the rows of seats according to mathematical calculations. They did not exist in Rome, but L. Mummius is said to have brought pieces of loot of this type back from Corinth. However, nothing in the theatre of C…

[German version] (πρωταγωνιστής/ prōtagōnistḗs, 'first in competition', esp. 'first actor, chief presenter'). As a t.t., rare and attested only late; since the derived verb πρωταγωνιστεῖν/ prōtagōnisteîn was used in a metaphorical sense ('stand in the foreground') as early as Aristotle (Aristot. Poet. 1449a 18 and Pol. 1338b 30), however, the word prōtagōnistḗs may have its origin in the 5th cent. BC. In dramatic competitions much depended on the abilities of the prōtagōnistḗs. Aeschylus [1] personally undertook the leading parts in his tragedies, while Sophocles […