This book offers an interpretation of the handling of costume in the plays of the fifth-century comic poet Aristophanes. Drawing on both textual and material evidence from the fourth- and fifth-century Greek world, it examines three layers of costume: the bodysuit worn by the actors, the characters' clothes, and the additional layering of disguise. A chapter is also devoted to the inventive costumes of the comic chorus. Going beyond describing what costumes looked like, the book focuses instead on the dynamics of costume as it is manipulated by characters in the performance of plays. The book argues that costume is used competitively, as characters handle each other's costumes and poets vie for status using costume. This argument is informed by performance studies and by analyses of gender and the body.

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This paper examines the manipulation of costume by characters in Aristophanes' Acharnians, Thesmophoriazusae, and Frogs. Costume control is viewed as a type of comic competition. In Acharnians, Dicaeopolis' overall mastery is expressed by his control over costume; in Thesmophoriazusae, the Relative experiences a series of costume-related humiliations; in Frogs, Dionysus and Xanthias exchange costume, reducing Dionysus' status. Successful manipulation of costume is associated with masculinity and heightened status, while failure to control costume is correlated with emasculation and lowered status. Characters' handling of costume has additional reference to the poet's degree of mastery over the elements of dramatic production.

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I argue that the cloaks that the women steal from their husbands in Aristophanes' Ecclesiazusae have thematic resonances that extend well beyond their use as part of the women's transvestite disguise. The filching of the cloaks is portrayed as lvpodusia ("mugging") by Blepyrus at lines 535–38. Once he makes this association, the cloaks come to signify not only gender reversal but also the oikos-polis dialectic and socioeconomic issues that are at the play's core. Praxagora capitalizes on these associations as she presents her agenda to Blepyrus. The stolen cloaks thus link the cross-dressing and economic aspects of the play.