Opinions may differ as to individual cases, but the total number of instances of this kind does not amount, at the outside, to more than about fifteen.[527] The conclusion we may draw from this evidence is as follows. There was nothing in the fifth century theatre to prevent the actors from moving into the place occupied by the chorus, and there was nothing to prevent the chorus moving into the place occupied by the actors. But, except when they were entering or leaving the scene of action, they do not appear to have done so usually, but to have kept apart from one another. What then does all this prove as regards the stage? On the one hand, it proves conclusively that the stage of the fifth century cannot have been as high as the ordinary later or Hellenistic stage. If the fifth-century stage had been twelve feet above the level of the orchestra, there would have been the greatest awkwardness in actors and chorus passing from one place to the other. But, on the other hand, it does not in any way exclude the possibility of there having been a stage of some kind or another. If we suppose that the fifth-century stage was lower and deeper than that of later times, and that it was connected with the orchestra by a long flight of steps, or by a sloping ascent, all difficulties about the performance of the extant dramas disappear. Actors and chorus could easily pass from stage to orchestra, or vice versa. The fact that they so seldom came into contact with one another, except when entering or leaving the theatre, is a strong confirmation of the view that there was a stage of some kind, and that it was reserved in most cases for the actors, while the usual place for the chorus was in the orchestra.