This paper consists of three case studies regarding the stagetopography of Aeschylus’ Seven against Thebes. These case studies revolvearound the following questions: (i) whether the Theban acropolis on whichthe play is set would require the use of an elevated structure such as a raisedstage; (ii) how the characters’ entrances and exits are semiotised, and whethera semiotically active skēnē can be extrapolated from the script; and (iii) whatindications are provided by the script on the arrangement of the gods’ statues in the acting area. With regard to (i), it is argued that the hypothesis ofa raised stage is not warranted by the text of Septem. With regard to (ii), thepaper attempts to reconstruct the play’s imaginary topography, especially inrelation to the semiotic function of the parodoi, and argues that Septem requires no theatrically functional skēnē . Finally, with regard to (iii), the paperadvocates a circular arrangement of the gods’ statues around the peripheryof the orchestra. Discussion of these case studies is informed throughout byan awareness of the methodological problems and limitations associated withany attempt to reconstruct the visual aspect of early Greek theatre; these arebrief ly surveyed in an introductory section. The paper also offers tentativesuggestions for control mechanisms which may mitigate the effect of the aforementioned methodological limitations.
