View source for Plautus

===Geography of the stage===
Often the geography of the stage and more importantly the play matched the geography of the city so that the audience would be well oriented to the locale of the play. Moore says that, "references to Roman locales must have been stunning for they are not merely references to things Roman, but the most blatant possible reminders that the production occurs in the city of Rome".<ref>Moore, 1991, p. 347.</ref>  So, Plautus seems to have choreographed his plays somewhat true-to-life. To do this, he needed his characters to exit and enter to or from whatever area their social standing would befit.

Two scholars, V. J. Rosivach and N. E. Andrews, have made interesting observations about stagecraft in Plautus: V. J. Rosivach writes about identifying the side of the stage with both social status and geography. He says that, for example, "the house of the ''medicus'' lies offstage to the right. It would be in the forum or thereabouts that one would expect to find a ''medicus''."<ref>V. J. Rosivach, "Plautine Stage Settings," ''Transactions and Proceedings of the American Philological Association'' 101 (1970), pp. 445-461.</ref>  Moreover, he says that characters that oppose one another always have to exit in opposite directions. In a slightly different vein, N.E. Andrews discusses the spatial semantics of Plautus; she has observed that even the different spaces of the stage are thematically charged. She states:

<blockquote>Plautus' ''Casina'' employs these conventional tragic correlations between
male/outside and female/inside, but then inverts them in order to establish an even more complex relationship among genre, gender and dramatic space. In the ''Casina'', the struggle for control between men and women... is articulated by characters' efforts to control stage movement into and out of the house.<ref>N. E. Andrews, "Tragic Re-Presentation and the Semantics of Space in Plautus," ''Mnemosyne'' 57.4 (2004), pp. 445-464.</ref></blockquote>

Andrews makes note of the fact that power struggle in the ''Casina'' is evident in the verbal comings and goings. The words of action and the way that they are said are important to stagecraft.  The words denoting direction or action such as ''abeo'' ("I go off"), ''transeo'' ("I go over"), ''fores crepuerunt'' ("the doors creak"), or ''intus'' ("inside"), which signal any character's departure or entrance, are standard in the dialogue of Plautus' plays. These verbs of motion or phrases can be taken as Plautine stage directions since no overt stage directions are apparent. Often, though, in these interchanges of characters, there occurs the need to move on to the next act. Plautus then might use what is known as a "cover monologue". About this S.M. Goldberg notes that, "it marks the passage of time less by its length than by its direct and immediate address to the audience and by its switch from ''senarii'' in the dialogue to ''iambic septenarii''. The resulting shift of mood distracts and distorts our sense of passing time."<ref>S.M. Goldberg, "Act to Action in Plautus' ''Bacchides''," ''Classical Philology'' 85.3 (1990), pp. 191-201.</ref>