e. For example, it appeared atthe end of Aeschylus Agamemnon when Clytaemestra emerged from the palace doors,revealing the bodies of Agamemnon and Cassandra. It was probably a low platform,semi-circular in shape so that it may easily be brought out from any of the three backdoors. While all of the information presented thus far seems reasonable enough to be factand is predominantly accepted by scholars, there does remain a certain level of doubt andopposing views regarding many topics. Even elements of the theater as basic as the stageand when it first emerged are often debated. Some scholars challenge the widely accepted(however not unanimously accepted) view that the Theater of Dionysus embodied a stageas early as the fifth century. Those who take this stance argue that there are noarchitectural remains to prove them wrong. Also, they argue that any type of man-madestage would have prevented many of the special effects used in the theater (Brockett 34).Another frequently debated topic is over where the actor stood on stage. Due to thepresence of the altar in the center of the orchestra, the actor was essentially robbed of themost prime place to stand in order to address the entire audience (Harwood 50).Therefore, he was forced to find a new place where both he and the audience would findhis presence acceptable. Scholars also have trouble agreeing on exactly where the skene ofthe fifth century B.C. theaters was located, in relation to the orchestra. Some hold thebelief that the skene was built directly atop the orchestra, while others place it behind theorchestra (Allen 29). There will always be room for speculation regarding these issues doto the lack of conclusive evidence. It is likely that many of these issues will never beunanimously agreed upon. The remains of the Theater of Dionysus, which can be seen inAthens today, date to Roman times and not the Greek fifth century B.C. There are manyreasons why scholars have drawn this concl...
