Stagecraft in Ancient Greek Theatre

Stagecraft involved the use of techniques by ancient Greek dramatists to create a truly immersive theatrical experience and spectacle [opsis/ὄψις] for their audiences/spectators above and beyond the texts and spoken words of their plays - in essence the mise en scène of a performance or theatrical event. It involved the architectural design of the theatre buildings and their acoustics; stage building (skene/σκηνή) design and how it evolved over time; the involvement of the use of music, song (chanting), dance, and poetry; stage machinery - crane (mekhane/μηχανή), the wheeled platform (ekkyklêma/εκκύκλημα); masks, costumes and drapery; stage properties; stage scenery (periaktoi); the exits and entrances of the actors and stage directions.

Aristotle's Theory of Stagecraft: 

Aristotle advises that stagecraft is to be used by the dramatist to create productions which are both effective and aesthetically pleasing. Whilst Aristotle does not delve extensively into the technical aspects of stagecraft or provide detailed instructions on staging drama, his ideas on plot, character, and the overall experience of tragedy all indirectly influence and concern the practical aspects of stagecraft. 

Aristotle acknowledges the importance of spectacle (opsis) in a theatrical production. He refers to the importance of visual and auditory elements of performance.

Aristotle discusses the use of costumes and masks in Greek theatre. He notes that costumes should be appropriate to the characters and reflect their social status and the nature of their character. Masks were an integral part of Greek theatre and served multiple purposes: amplifying the voice of an actor, and enabling actors to portray multiple roles. They also help the audience to distinguish between the different characters in a play. In Poetics 1449b22-25 he writes "The use of costume and masks is also necessary. For the face is the most expressive part of the body, and it is therefore important to disguise it, so that the actor can represent different characters."

The choreography and movements of the Chorus can be considered as part of stagecraft.

Poetics, Book IV, 1449b10-11. He wrote:

"The Chorus should be regarded as one of the actors; it should be an integral part of the whole, and contribute to the action by its songs and its movements. The movements should be expressive of the emotions, and should be appropriate to the words that are sung."

This suggests that Aristotle believed that the movements of the Chorus should be carefully coordinated with the words of the text, in order to create a more powerful and expressive performance. Aristotle also writes that the Chorus should "not be too numerous," so that they can move around the stage easily and effectively. He also suggests that the Chorus should not be too involved in the action of the play, but should rather "stand apart from it and comment on it."

The scenery used and the setting on the stage should be used to create a sense of place and to help the audience to understand the action of the play. Spectacle (opsis) is a term that includes everything that is presented to the eye through the medium of the actors, whether it be the appearance of the actors themselves, the costume they wear, the scenery, or any other kind of visual effect.

References

Opsis - Wikipedia
OPSIS: The Visuality of Greek Drama thesis by Peter Meineck - University of Nottingham ePrints
ὄψις - Wiktionary
Aeschylean opsis

The Masks of Menander: Sign and Meaning in Greek & Roman Performance by David Wiles - Internet Archive

Mise-en-scène - Wikipedia
Aeschylean opsis
The Masks of Menander: Sign & Meaning in Greek & Roman Performance by David Wiles - Internet Archive

Aeschylus' Stagecraft - Google Scholar
Sophocles' Stagecraft - Google Scholar
Euripides' Stagecraft - Google Scholar
Aristophanes' Stagecraft - Google Scholar

Search CORE for Aeschylus' Stagecraft
Search CORE for Sophocles' Stagecraft
Search CORE for Euripides' Stagecraft
Search CORE for Aristophanes' Stagecraft

Trap | stage machinery - Britannica

Skene (theatre) - Wikipedia
Mechane - Wikipedia
Ekkyklema - Wikipedia
Periaktos - Wikipedia

The art of play production: J. Dolman - Internet Archive

Stagecraft in Euripides : Halleran, Michael R - Internet Archive

White, J. W. (1891). The “Stage” in Aristophanes. Harvard Studies in Classical Philology, 2, 159–205. https://doi.org/10.2307/310333. https://www.jstor.org/stable/310333

Stagecraft: the complete guide to theatrical practice ed. Trevor R. Griffiths - Internet Archive

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Euripidean Stagecraft by Sarah Miles - Brill (2020)
A Companion to Aeschylus - Google Books
Greek Tragedy in Action - Google Books
Reviewed Work: Vision and Stagecraft in Sophocles by David Seale - JSTOR
Sophocles Didaskalos by C. W. (Toph) Marshall - Academia.edu
Euripides. Stories, texts & stagecraft - CORE
Stagecraft in Euripides by Michael R. Halleran - Internet Archive 
The evolution of Aristophanic stagecraft
The Theatrical Cast of Athens (OUP 2006) by Edith M Hall - Academia.edu
Aristophanes, an author for the stage by C.F. Russo - Internet Archive
Didaskalia - The Journal for Ancient Performance
Studies in the History of Hellenistic Drama by G. M. Sifakis - Internet Archive
The Diminishing Role of Stage Properties in Aristophanic Comedy. - Free Online Library
The "Stage" in Aristophanes: White, John Williams - Internet Archive

Tragedy in Athens: Performance Space and Theatrical Meaning - David Wiles - Google Books

Wiles, D. (1987). Reading Greek Performance. Greece & Rome, 34(2), 136–151. http://www.jstor.org/stable/642942

KIRBY, J. T. (1991). ARISTOTLE’S “POETICS”: THE RHETORICAL PRINCIPLE. Arethusa, 24(2), 197–217. http://www.jstor.org/stable/26309403

English, M. C. (2007). Reconstructing Aristophanic Performance: Stage Properties in “Acharnians.” The Classical World, 100(3), 199–227. http://www.jstor.org/stable/25434022

Vision and Stagecraft in Sophocles, Seale

A Companion to Sophocles - Google Books