Richard C. Beacham is Professor Emeritus in the Department of Digital Humanities, King's College, London. An authority on ancient theatre, he is the author of numerous publications including The Roman Theatre and its Audience (Harvard University Press, 1991) and Spectacle Entertainments of Early Imperial Rome (Yale University Press, 1999). As a leading international scholar of theatre history, Beacham has pioneered the use of 3-D modelling in humanities research. While a Fellow at the Getty Museum, he produced his translation of ancient comedy upon a replica Roman stage based upon his research. Hugh Denard taught in the University of Warwick, King's College London and Trinity College Dublin. He has published on ancient drama in performance, the reception of ancient drama since antiquity, Irish theatre history, digital visualisation in the arts and humanities and he proposed and edited the influential London Charter for the Computer-based Visualisation of Cultural Heritage.

'[T]his excellent book paves the way to expand research on the acculturation of the audiences. What can analysis of textual and visual evidence tell us about the attitudes of a fuller cross-section of ancient Roman theater-goers. For example, what attitudes did foreigners, enslaved individuals, and women have toward both the built forms of theaters? How did their 'encyclopedia' of visual representations of theatrical forms inform their reactions to the painted interiors of Roman houses? This, of course, is work that Denard and Beacham have laid the groundwork for.' John R. Clarke, Bryn Mawr Classical Review

• 1. Roman theatricality and theatricalism; 2. Theatrical life at Pompeii; 3. Performance at Pompeii and the range of Roman theatrical entertainments; 4. Politics and patronage at Pompeii; 5. Theatricalism and the Roman house; 6. Skenographia: theatricality and theatricalism in Second Style frescoes; 7. Skenographia at Boscoreale, Oplontis and Pompeii; 8. Skenographia on the Palatine and at Pompeii; 9. Fourth Style Skenographia; 10. Triclinium theatricality.

Richard C. Beacham is Professor Emeritus in the Department of Digital Humanities, King's College, London. An authority on ancient theatre, he is the author of numerous publications including The Roman Theatre and its Audience (Harvard University Press, 1991) and Spectacle Entertainments of Early Imperial Rome (Yale University Press, 1999). As a leading international scholar of theatre history, Beacham has pioneered the use of 3-D modelling in humanities research. While a Fellow at the Getty Museum, he produced his translation of ancient comedy upon a replica Roman stage based upon his research. Hugh Denard taught in the University of Warwick, King's College London and Trinity College Dublin. He has published on ancient drama in performance, the reception of ancient drama since antiquity, Irish theatre history, digital visualisation in the arts and humanities and he proposed and edited the influential London Charter for the Computer-based Visualisation of Cultural Heritage.

'[T]his excellent book paves the way to expand research on the acculturation of the audiences. What can analysis of textual and visual evidence tell us about the attitudes of a fuller cross-section of ancient Roman theater-goers. For example, what attitudes did foreigners, enslaved individuals, and women have toward both the built forms of theaters? How did their 'encyclopedia' of visual representations of theatrical forms inform their reactions to the painted interiors of Roman houses? This, of course, is work that Denard and Beacham have laid the groundwork for.' John R. Clarke, Bryn Mawr Classical Review

• 1. Roman theatricality and theatricalism; 2. Theatrical life at Pompeii; 3. Performance at Pompeii and the range of Roman theatrical entertainments; 4. Politics and patronage at Pompeii; 5. Theatricalism and the Roman house; 6. Skenographia: theatricality and theatricalism in Second Style frescoes; 7. Skenographia at Boscoreale, Oplontis and Pompeii; 8. Skenographia on the Palatine and at Pompeii; 9. Fourth Style Skenographia; 10. Triclinium theatricality.

Richard C. Beacham is Professor Emeritus in the Department of Digital Humanities, King's College, London. An authority on ancient theatre, he is the author of numerous publications including The Roman Theatre and its Audience (Harvard University Press, 1991) and Spectacle Entertainments of Early Imperial Rome (Yale University Press, 1999). As a leading international scholar of theatre history, Beacham has pioneered the use of 3-D modelling in humanities research. While a Fellow at the Getty Museum, he produced his translation of ancient comedy upon a replica Roman stage based upon his research. Hugh Denard taught in the University of Warwick, King's College London and Trinity College Dublin. He has published on ancient drama in performance, the reception of ancient drama since antiquity, Irish theatre history, digital visualisation in the arts and humanities and he proposed and edited the influential London Charter for the Computer-based Visualisation of Cultural Heritage.

'[T]his excellent book paves the way to expand research on the acculturation of the audiences. What can analysis of textual and visual evidence tell us about the attitudes of a fuller cross-section of ancient Roman theater-goers. For example, what attitudes did foreigners, enslaved individuals, and women have toward both the built forms of theaters? How did their 'encyclopedia' of visual representations of theatrical forms inform their reactions to the painted interiors of Roman houses? This, of course, is work that Denard and Beacham have laid the groundwork for.' John R. Clarke, Bryn Mawr Classical Review

• 1. Roman theatricality and theatricalism; 2. Theatrical life at Pompeii; 3. Performance at Pompeii and the range of Roman theatrical entertainments; 4. Politics and patronage at Pompeii; 5. Theatricalism and the Roman house; 6. Skenographia: theatricality and theatricalism in Second Style frescoes; 7. Skenographia at Boscoreale, Oplontis and Pompeii; 8. Skenographia on the Palatine and at Pompeii; 9. Fourth Style Skenographia; 10. Triclinium theatricality.