Frontispiece

pp ii-ii

Ancient Theatre and Performance Culture around the Black Sea - Title page

pp iii-iii

Copyright page

pp iv-iv

Contents

pp v-vii

Figures

pp viii-xvii

Notes on Contributors

pp xviii-xxiv

Preface

pp xxv-xxvii

Abbreviations

pp xxviii-xxix

Map

pp xxx-xxx

Part I - Approaches

pp 1-42

1 - Introduction: Embarking on a Voyage around Black Sea Theatre

pp 3-13

2 - The Spread of Greek Theatre to the West – and to the North-East?

pp 14-25

3 - The Northward Advance of Greek Horizons

pp 26-42

Part II - Places

pp 43-222

4 - The Tragedians of Heraclea and Comedians of Sinope

pp 45-58

5 - The Phanagoria Chous

pp 59-81

6 - Theatre and Performance in the Bosporan Kingdom

pp 82-105

7 - Ancient Theatre in Tauric Chersonesus

pp 106-134

8 - Theatre at Olbia in the Black Sea

pp 135-160

9 - Celebrating Dionysus in Istros and Tomis: Theatrical Manifestations and Artistic Life in Two Ionian Cities of the Black Sea

pp 161-176

10 - Ancient Theatres and Theatre Art of the Bulgarian Black Sea Coast and Thracian Hinterland

pp 177-222

Part III - Plays

pp 223-328

11 - Space, Place and the Metallurgical Imagination of the Prometheus Trilogy

pp 225-251

12 - Fragmentary Greek Tragedies Set in the Black Sea

pp 252-266

13 - Black Sea Back Story: Euripides’ Medea

pp 267-288

14 - Dare to Believe: Wonder, Trust and the Limitations of Human Cognition in Euripides’ Iphigenia in Tauris

pp 289-304

15 - Visualising Euripides’ Tauric Temple of the Maiden Goddess

pp 305-328

Part IV - Performative Presences

pp 329-469

16 - Music and Performance among Greeks and Scythians

pp 331-361