It takes commitment, resourcefulness, time, and money. Not everyone who wants to act in or direct tragedy will be up to it, and a classical scholar will probably meet fewer of the genre's requirements than a theater professional. But we, like the singers to whom The Third Line is addressed, can learn. And we can collaborate, providing the cultural context for those who have the voice and movement training. How much more true that is of the tragedians, who could rarely expect more than one performance of a play.
Performance is about a relationship with an audience.
And if you want a guide to performing Greek tragedy, you could do a lot worse than to read The Third Line . Copyright remains with authors, but due reference should be made to this journal if any part of the above is later published elsewhere. Electronic Antiquity Vol.