Crossing literary evidence with archaeological data, we discuss the history of a site known as ‘Marsa Djazira’ by following the evolution of its toponym. During the Phoenician-Punic era, this site was described as a city/urban establishment with a harbour known as ‘Gaphara’. In late Roman times its name was most likely changed to ‘Minna Villa Marsi’, as the Marsi family of the aristocracy of Leptis Magna probably built a luxury residence (villa) and exploited the port to export olive products from its estates in the hinterland of Leptis Magna. In the Middle Ages, the site underwent another toponymic change to ‘Ras Chacra’ and became an official maritime station (port) on the shipping lanes. In the late Middle Ages, the ancient toponym ‘Gaphara’ reappeared again with a slight distortion as ‘Gasr Jafara/Djefara’. This last name was known when the site was already ruined and abandoned.

This article aims to shed fresh light on the meaning of the term togata. It conducts an analysis of the term as it appeared in ancient sources,1 investigating in particular both how and why ancient authors across several periods focussed their attention on the togata. The paper will also distinguish between the attestation of the term togata in ancient writers, who are likely to have actually watched these theatrical performances in person and known more directly what they were talking about, and the usage of the term by later grammarians, who would have had no opportunity to watch such performances. These later authors, rather, were simply guessing what kind of theatrical representation could have been performed onstage (much as we do nowadays) and did so by adopting obvious differences in terminology.