The problems which have been claimed to dog the transference to film of any play conceived for live theatre performance are considered to be intensified if the play in question is a Greek tragedy. David Wilson, 1 for example, believes that Greek tragedy ‘compounds the problem of theatre into film’. This problem, in the various forms under which it has been identified, has been the subject of Chapter 2, but it could be asked if ‘problem’ is a fair term. It is, only if a purist view of either medium is maintained, or if dominant practice is taken effectively to exclude all other possibilities.