Abstract

Unlike tragedy, Old Comedy openly acknowledges its own festival context and the existence of a world beyond the one created for and occupied by its masked characters. Admission of the theatrical setting is a standard well-documented feature and was an effective way of drawing spectators into the drama's fiction. To the same end, speaking directly to the audience formed an integral part of Aristophanes' plays and very probably of the comic genre as a whole. We can therefore think of comedy as an ‘inclusive’ art form, one that consciously attempted to involve and engage its consumers, in particular via explicit verbal address. On the other hand, the evidence is much slimmer for actors moving outside of the performance area or otherwise physically bringing the audience members and the fictional cast into contact and, regardless of how attractive it might seem, this type of spatial negotiation is far from established. It may well be the case that in spite of comedy's relative liberty, certain barriers continued to exist, including the invisible barrier that divided the acting area from the auditorium.