This paper explores the construction of dramatic space in the prologues of classical Greek drama. Drawing from theater scholarship on the phenomenology of space, I show how tragedians and comedians alike experimented with how to shape their audience’s understanding of a play’s setting. I focus on opening scenes in plays by Sophocles and Aristophanes where a character sees with and for the audience, and demonstrate how these moments of staged spectatorship are not necessarily straightforward or seamless; they can facilitate the viewing of dramatic space but also, by laying it bare, reveal its complications. Sometimes there are multiple representational possibilities for physical space within and around the theater; sometimes physical and fictional space are to be seen simultaneously; sometimes the representational gap between physical and fictional space is kept open for a surprisingly long time. Such exposure of the process of theatrical representation, I argue, can draw the audience in as a co-participant in a drama’s production.

This essay considers episodes in which phenomena like war and civil strife affected, changed, and revealed the identity of the polis. Even if framed by an understanding of the Peloponnesian War and the imperialistic logic and destiny of Athens, Thucydides' History still provides us with narratives that illuminate the particular history of “minor” poleis, each with its specific events, turning points, and dynamics. Through analysis of Thucydides' historical material, this essay focuses on Plataea, Corcyra, and Mytilene and discusses the notion of the polis in relation to space and in the context of time, thereby testing Aristotle's question—too soon dismissed—about the separation of a community from the space of its city ( Pol. 3.1276b1–5).