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The Collaborative International Dictionary
Skene

Skene \Skene\, n. See Skean.
--C. Kingsley.

Douglas Harper's Etymology Dictionary
skene

ancient type of Celtic dagger found in Ireland, double-edged and leaf-like, 1520s, from Irish Gaelic scian (genitive sceine) "knife," cognate with Gaelic sgian "knife," Welsh ysgien "a slicer," from PIE *skiy-ena-, from root *skei- "to divide, split" (see shed (v.)).

Wiktionary
skene

n. 1 An element of ancient Greek theater. 2 (alternative form of skean English) (a kind of dagger)

WordNet
Wikipedia
Skene (theatre)

In the Theatre of Ancient Greece and classical drama, the skene was the structure at the back of a theatre stage, initially a very light structure or just cloth hanging from a rope, but by the start of Roman Greece, a large and complex stone building on several levels. The proskenion or "space in front of the skene" became, after the Classic period, the stage platform, raised above the original orchestra level.

Actors emerged from the skene and sometimes in later versions could use its steps or balconies to speak from. It was also where costumes were stored and to which the periaktoi (painted panels serving as the background) were connected. In Roman theatres, scaenae frons ("facade of the skene") is the term for the elaborately decorated stone screens, rising two or three storeys, that the skene had now become.

The word skene means "tent" or "hut," and it is thought that the original structure for these purposes was a tent or light building of wood, and was a temporary structure. Placing a skene behind the orchestra where the performers acted, played and danced broke what is thought to have been the original theatre in the round nature of Greek theatre. The skene also served as another "hidden stage." At times some of the action went on inside, in which case it was up to the audience to decide what was happening based on the noises coming from the inside. It was a convention of the dramas of the classic period that characters never died on stage, instead usually retreating into the skene to do so.

In the course of time, the skene underwent fundamental changes. First it became a permanent building, whose roof could sometimes be used to make speeches. Then it was raised up from the level of the orchestra, creating a proskenion, or "space in front of the skene". The facade of the proskenion now was behind the orchestra, and provided a space for supporting stage scenery. This facade was also sometimes elaborately decorated. The evolution of the actor, who assumed an individual part and answered to the chorus (the word for actor, hypokrites, means answerer), introduced into drama a new form, the alternation of acted scenes, or episodes. As the Greek chorus declined in importance compared to a smaller group of main actors, the chorus remained in the orchestra to perform, while the main actors generally performed from the stage on top of the proskenion. This important change occurred in the Hellenistic period, between the 3rd and 1st century BC. In surviving examples this stage seems to have been raised by 2.43 m to 3.96 m above the orchestra, and to have been from 1.92 m to 3.96 m deep, terminated by the skene. The skene itself became increasingly elaborate, and was also available as a place for actors to declaim from, so that the performers between them had three levels available.

By the 1st century BC the skene was as elaborate as its Roman development, the scaenae frons, which dispensed with the orchestra altogether, leaving a relatively low proscaenium facade, often decorated, and a wide stage or pulpitum behind, ending in an elaborate scaenae frons with three or more doors, and sometimes three storeys.

By now there was a series of complex stone buildings. To each side there was a paraskenion. The episkenion was the upper floor of the skene, which might be deepened to give a third stage level, seen through thyromata or openings. The interior of the logeion ("building") behind the skene facade remained normally outside the view of the audience, and fulfilled the original function as a changing room and place for props.

Skene (automobile)

The Skene was an American automobile manufactured from 1900 to 1901. A twin-cylinder 5 hp steam car, it was built in Lewiston, Maine. Despite its makers claims of "many points of superiority", the Skene seems to have been rather unremarkable.

The Skene American Automobile Company was a short-lived maker of steam automobiles. Its advertising claimed it had 125 cars under construction at its Lewiston, ME factory. Its showroom was in Springfield, MA. The existing advertising indicates that the company was in search of investors and capital.

Skene

Skene may refer to:

  • Skene, Aberdeenshire, a community in North East Scotland, United Kingdom
  • Skene, Mississippi, an unincorporated community in Mississippi, United States
  • Skene (automobile), an American steam automobile manufactured by Skene American Automobile Company from 1900 to 1901
  • Skene (theatre), a part of a classical Greek theatre
  • Clan Skene, a Lowland Scottish clan
  • Skene! Records, a record label based in Minneapolis, Minnesota
  • Skene, Sweden, a village now part of Kinna, Sweden
  • Skene (TV film), a 2004 Finnish television film

Usage examples of "skene".

From the middle double doorway of the skene, a group of fifteen men, dressed in long blue chitons with black stripes running from the shoulders to the hems of the flowing robes, emerged, swaying and walking slowly to the great circle below us.

From the top of the skene, a second figure emerged, a gold chiton fluttering.

I made my way out of the skene, went down the steps of the stone retaining wall, across the drainage channel, and behind the theatre to the rocky foundation of the Acropolis.

I returned to the skene, not wanting to leave the place where I believed a key piece of evidence might still lay.

It would have hung upon the wooden wall of the skene, where the props were kept for ease of access during performances.

For that matter, I thought, if the skene had not been padlocked, anyone offended by Nicias could have entered to take and return the sword.

He moved to the left side of the skene, bent over, and yanked open a chest.

I turned and hurried out of the skene, leaving by the front double door.

Marty Skene, the county attorney, and the tall one is Jackson Oxenhandler, a public defender.

Next, Skene called the police officer who had arrested Sweeney and Cooper, and he testified to the finding of the missing weapon in their possession.

They attempted to question Skene, but he brushed them off and stalked from the building.

Wednesday afternoon in the middle of a delightful and mild October, Merrys and Skene were about to make a plan to be A.

In other words, Merrys had had a row with his form-master, and Skene had been put down to play in the House Third instead of the House Second, where he considered that he belonged.

Kay, referred to by Skene as Spivvy and as possessing a cottage which the Dog-fanciers would have to pass on their way out from school, was the only married member of the staff who was not a Housemaster.

Merrys looked at Skene, and Skene said, with gloomy doggedness, that he was hanged if he was going to fork out half a crown for the doubtful pleasure of watching a couple of races, which was all they could possibly find time for.