Os espaços das Troades de Séneca

Abstract

After a necessarily brief reflection on the history of the three tragic unities and some considerations on the setting of Troades’ initial scenes and on the apparent contradiction between the kommos of 67-164 and the choral intervention of 371-408, this paper agrees with C. W. Marshall’s claim (2000, “Location! Location! Location! Choral absence and theatrical space in the Troades”, in G. W. M. Harrison (ed.), Seneca in performance. London 27-52) that Troades suggest six different locations, but the use of characters as anchors and the chorus’ movements in and offstage are not enough to create a clear sense of space in public’s mind. That’s why the use of periaktoi or scaenae ductiles must be taken into account.