The parodoi were flanked by two monumental porticos with twin entrances and Ionic semi-columns. In the third building phase, repairs were carried out to the stage building following the Roman destruction of BC.
Some of the proscenium semi-columns were replaced by rough-built walls. Finally, during the fourth building phase, the theatre was turned into an arena.
The front rows of seats were removed and the floor of the orchestra was filled in and raised, covering the thymele, the drainage duct and the remains of the proscenium. It is situated in the south part of the city, close to the corresponding entrance. The excavation and architectural information to date indicates that there were three building phases: Hellenistic, Roman I 1 st c.
AD and Roman II 3 rd c. Of the cavea, only the seats in the central section remain, along with a sizeable part of their stepped foundations. The retaining walls of the parodoi, mostly dating to the Hellenistic building phase, have partly collapsed, probably in the great earthquake of AD. Many of their stone blocks are lying in the parodoi. The front of the stage building has the typical scenae frons layout, with three large niches corresponding to three entrances.
The three construction phases of the monument are combined in the stage building, whose walls are preserved to a height of half a metre above the floor. In the southeast part of ancient Maronia, against the wall of the city and among its ancient buildings, stands its theatre, built on the slopes of two hills between which a seasonal stream once ran. The cavea of the theatre, facing southwest, is constructed of hard yellowish poros stone, while the stage building is made of local limestone.
The cavea was divided into nine wedge-shaped cunei, of which the first rows of seats are visible. The capacity of the cavea is estimated to have been no more than 1, spectators.
Around the horseshoe-shaped orchestra ran a large marble drainage duct that led the rainwater off the cavea into the main channel of the stream. The theatre formed part of the urban plan of the Hellenistic city, dating it to the end of the 4 th c. The rectangular stage building was constructed in the Roman period. It was divided into three parts, with a proscenion with a colonnade, preserving 13 bases of semi-columns.
During the next building phase, in the Early Christian era, the theatre was turned into an arena. The front row of seats was removed and a protective balustrade was placed around the orchestra. The monument fell into disuse in the 4 th c. The construction of theatres, an outstanding achievement of Ancient Greek civilisation, reflects the high level of intellectual, political and social development attained by that civilisation in Classical times. Theatres were widespread throughout the Greek lands and formed the archetype of a multitude of corresponding structures in antiquity throughout the Mediterranean.
Ancient Greek theatres reflect the original concept and the first stages of development of the theatre as an architectural type, as it evolved to adapt to the changing requirements of the dramatic art during the Classical and Hellenistic periods. They form the starting-point of a long architectural tradition, constantly enriched with new elements, that continues to this day. They also constitute a technological achievement with regard to their acoustics. The variation in height between each row and the next prevented degradation of the sound waves, while the shape of the cavea enabled a good concentration of sound.
The tall stage building with its parascenia, and the smooth surface of the orchestra, which was paved from a certain point onward, also functioned as sound amplifiers. It was in Greek theatres that the great works of ancient drama were first performed, including the tragedies of Aeschylus, Sophocles and Euripides and the comedies of Aristophanes, which continue to inspire the world of the theatre to this day.
Theatre as an institution is directly connected to the spirit and expressions of democracy, as it was established in Athens by the reforms of Kleisthenes BC , which is why it aimed to achieve the greatest possible level of citizen participation. Attending performances was an experience on multiple levels, which was not only intended to provide a link with religious tradition but also reflected the intellectual, political, philosophical and metaphysical concerns of its time, assuming a strongly educational character.
Furthermore, theatres also served political functions connected to the institution of Democracy, being used from the 5 th c. BC onwards as meeting-places for the citizens and the Assembly Ecclesia of the Demos. Their multifaceted role also justifies their physical relationship with the core of civic public life, the agora. Large numbers of ancient theatres survive in Greece, some of them in an impressively good state of preservation.
The theatre is one of the few types of ancient monument which is easily recognised by the general public and has been incorporated into modern life to a striking degree. Criterion i : The construction of theatres is a unique concept from an architectural and functional point of view, which has proved extremely influential through the ages, becoming the model for a multitude of corresponding structures down to the present day.
Criterion ii : The sitting of theatres within the city reflects clear urban planning. Care was taken to connect the theatre to the public centre, the agora, and the other public buildings it assisted, serving the functions of the city social, religious and political gatherings and democratic institutions. The theatre was the quintessence of Greek civilisation, a means of expressing measure, simplicity and harmony, and one of the criteria by which Pausanias recognised cities in the East as being Greek.
Criterion iii : Theatres are incontrovertible proof of the high intellectual, technological, political and social level attained by Greek civilisation in Classical times. They are inextricably linked to the spirit and operation of Democracy, as it first appeared in Athens in the 5 th c.
Criterion iv : Greek theatres are the archetype of this category of monument and an achievement of acoustics at such an early period. They bear witness to the genesis and primordial forms of the theatral structure, which keep pace with and are dictated by the evolution of drama and theatrical needs. The architectural type of the theatre influenced public buildings of Greek and Roman antiquity such as bouleuteria, ecclesiasteria and Roman-type odeia and theatres, and formed the starting-point of a long architectural tradition that continues to this day.
Criterion v : Theatre construction is a characteristic example of making full use of elements of the natural environment. In most cases the selected site is at the foot of a hill and most of the seats are carved into the bedrock, while the choice of location was also dictated by the desire to provide a panoramic view of the city, the sea, the beautiful landscape. They are thus important examples of human interaction with nature and the harmonious incorporation of structures into the landscape, evidence of the Ancient Greek love of natural simplicity and natural beauty.
Criterion vi : It was in Greek theatres that the great plays of antiquity were first performed, including the tragedies of Aeschylus, Sophocles and Euripides and the comedies of Aristophanes, unsurpassed literary masterpieces that have influenced dramatic production worldwide and continue to inspire the world of the theatre to this day.
The selected theatres all preserve a remarkable degree of integrity and maintain all the attributes that convey their Outstanding Universal Value. Their state of preservation makes it possible to model their original form, dimensions and capacity, as well as their function.
The theatres are protected under current archaeological law and separate designations of the archaeological sites in which they are incorporated. In cases where they are used to host present-day performances, special conditions are in place not only to prevent damage to the monuments during use, but also to ensure that the events are in keeping with their character. The selected theatres preserve a high level of authenticity. Consolidation and protection works has been carried out at certain theatres, in line with restoration norms.
In cases where the cavea has been modified with the addition of seating to allow the monument to function as a theatre, this has been done using compatible materials and always respecting the original configuration. Ancient theatres form a unique category of monument, both as an architectural concept and as regards their connections to the origins of dramatic art. Some Greek theatres form individual elements of wider archaeological sites inscribed on the World Heritage List Epidaurus, Delos, Delphi in Greece and Syracuse, Butrint, Cyrene and Cyprus in other countries ; these do not, however, form the core of those incriptions and are not directly linked to the genesis of theatre, unlike those included in the present proposal.
About us. Special themes. Major programmes. For the Press. Help preserve sites now! Join the , Members. Search Advanced. Criteria Criteria: with only with. Cultural Criteria: i ii iii iv v vi Natural Criteria: vii viii ix x. Cultural Natural Mixed. Its capacity was 20, Next door is a semi-circular theatre from the 1st century BC.
Now: Major concerts are still held in the amphitheatre. Guided tours of Arles do not usually include entry, but free time will allow a visit. Click here to cancel reply.
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Gill is a Latinist, writer, and teacher of ancient history and Latin. Updated December 10, Featured Video. Cite this Article Format. Gill, N. Layout of the Ancient Greek Theater. The Role of Theatron in Greek Theatre. From Flavian Amphitheater to Colosseum. Your Privacy Rights. To change or withdraw your consent choices for ThoughtCo. This three thousand acre gift to the residents of Los Angeles was given with the intent that Griffith Park would be made an eternal place of public recreation.
For 16 years, the dedicated land remained in its natural state - a grand public park and symbol of open recreational space.
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