Lisa Marie Haasbroek, Gmirkinite, has "The Book of Samuel and the Three-Actor Rule in Classical Greek Tragedy" (pdf).
When the theatre first appeared as a form of mass entertainment and/or edification, it was soon found that four was a crowd. Scenes could be delivered with a monologue, or with two d00ds. When three appear, they can have a dispute or a messenger can deliver a message which the other two can handle differently. Where a crowd be needed, that can be the chorus.
Playwrights elevated that system into a rule, which some - notably Euripides - saw fit to bend; for instance, allowing the chorus to interfere with the main characters (better: to judge them, as in Shakepeare's Julius Caesar). Comedy got its farcical edge by cracking all such rules, only to acquire its own rules; but we needn't discuss that for our scope. The tragic form informed how Herodotus would compose scenes between historical figures, those scenes being a sight less historical.
My examples have been Greek, or at least Plutarchite. Haasbroek here makes an assumption: that we don't see the three-actor rule before the Greeks, specifically the great tragedians. She would instead point the trope's dissemination around the Near East, even to Aristotle's Poetics (again, ignoring comedy) and Alexander's forcing of same onto the local populations.
Baruch Halpern once called the Deuteronomic History and the Davidic cycle of 1-2 Reigns/Samuel as "the first historians". This, because they are not like the annals of Assyrian kings nor the historical prefaces to Anatolian treaties. Haasbroek agrees on the parallel, but would strip from the Bible that ribbon. That, because the David stories follow the three actor rule.
One might see a Jew who'd gone to class learning from Herodotus, which inspired him (less-likely her) to compose that sort of court history. Not Haasbroek. She collates the paratext of the Aleppo Codex. Sections end, and a Psalm is brought in - for the chorus to sing. Jews might see this as primitive haftorah. Haasbroek sees the tragic form of the Greeks, whence haftorah evolved.
My problem with this argument is that we own a control-set: Daniel. (Also, Esther. Chronicles too.) A Hellenistic book of Reigns (and Judges) should have attracted Late Biblical Hebrew, western Aramaic, and especially Greek.
I suggest instead that the stage play existed also outside Greece. Jews adopted the form in Egypt; more to the point, Etruscans wrote plays in Italy. They called an actor an istrio, or so say the Romans. This must be from Greek historion; suggesting that it was from Magna Graecia that the Etruscans acquired their historical sense, memory, and - important here - medium, to relate such lore to their peers. Etruria was not however conquered by The Greeks as a unified force. The Greeks couldn't even much conquer each other down there.
So if 1-2 Reigns be, er, histrionic; it needn't have been forced by a Greek overlord. More likely the plentiful Greek colonies nearby spread the good word: Pamphylia, Cyprus, Naucratis, even Al Mina.