In this article, I discuss the earliest nomenclature of the Athenian artists of Dionysus, which I will argue is not only unique among the overall evidence on Dionysiac artists available to us at this point, but also evinces a recognized political potential in the newly organized association of the Athenian artists. First, I argue that the adjective πολυπραγμόνητος carries an active meaning, i.e. not being meddlesome; second, that this adjective has retained its political meaning from the earlier centuries in inscriptions connected with Athenian politics; third, I discuss the possible reasons why this adjective has been coupled with the adjective ἱερός, an equally unique appellation for individual Dionysiac artists so far. Finally, I will hypothesize about reasons for this unique nomenclature of the Athenian artists at this particular historical period.
Logeion: a Journal of Ancient Theatre, 2013, Vol 3, p. 71-80