ABSTRACT
As with all theatre production, mounting Greek tragedies at the City Dionysia involved the participation of many different parties who brought their talents, interests, money, and time to bear on the project. The process was a far cry from what we are accustomed to in the modern theatre, and it rewards closer examination. Given the city’s integral involvement with dramatic festivals, let us begin with the administrative role before moving into the financial, creative, performance, and appreciative aspects of tragic production.
