As regards the methodological matters pertaining to the stage of the Theatre of Dionysus in the age of Euripides, it is argued that dramatic texts should be studied on the basis of a synchronic approach, in conjunction with the whole dramatic production and the visual arts of that era. There follows a detailed survey of the evidence coming from the eighteen surviving Euripidean plays. The interpretation of the extant corpus suggests that the stage building in the last quarter of the fifth century seems to have a tripartite structure with paraskenia at each of the two sides and may be reminiscent of the Propylaea at the Acropolis. It probably had three doors (including two side doors at the paraskenia), a flat roof and windows at the paraskenia, and involved the use of stage machinery (mechane, ekkyklema). The existence of a slightly raised stage, a crepidoma and a portico is highly likely. What remains unclear so far is the exact form of the central door (did it comprise a permanent porch?), the question of the overall height of the skene building, as well as the form of the levels on which stage action evolved in each case.