https://www.peren-revues.fr/eugesta/1650 Entrées d’index fr 0 https://www.peren-revues.fr/eugesta/1604 This article argues both that Plautus made use of a comic stock scene featuring all-female space to deepen the characterisation of his meretrices figures, and that Seneca used paracomedy to deploy these conventions and heighten the tragedy in the Troades. Using the concept of the haunted stage laid out by Marvin Carlson, I argue that stagecraft becomes an important intertheatrical practice that offers a new way into thinking about the relationship between Seneca and his comic predecessors. Examples from the Cistellaria and Asinaria illustrate how a stock scene featuring single-gendered theatrical space created a specific set of behavioural conventions and expectations that Plautus exploits in the same way as he does comic stock characters. Interpreting scene four of Seneca’s Troades through a paracomic lens reveals how it is haunted by this spatial template in a way which sharpens the hovering spectre of enslavement awaiting the royal women in Greece. mar., 02 sept. 2025 17:00:33 +0200 jeu., 25 juin 2026 12:10:08 +0200 https://www.peren-revues.fr/eugesta/1604