The article offers an analysis of the information about the figure of Orpheus on the stage of the Old Attic theater in the 5th century BC. They are systematized in several groups around the mythological motifs characterizing the Thracian musician: The magical power of Orpheus’ word-song; Orpheus enchanting wild animals, which is closely associated with the myth of the Argonauts; the myth of the katabasis of Orpheus. In ancient times, magic was almost always negatively associated with the religious practices of someone else, a foreigner, the Other. It is a term that distinguishes these practices from the norm and a means of defining the Otherness embodied in the figure of Orpheus. Along this line, the reserved and even negative attitude towards Orphism and the related religious movement in classical Athens developed. These characteristics transform the figure of the Thracian into inconsistent, conflicting with the canons of good tragedy, defined by Aristotle in his Poetics, and explain why it appears on the stage of the Old Attic theater unsystematically and in associative terms.