DOI Page / Citation link:
https://doi.org/10.11588/diglit.42778#0149
TEMPLES, BASILICAS, AND THEATRES.
87
Theatres.
The tendency in the later development of the Greek theatres was
to bring the stage forward into the orchestra, so as to place the actors
nearer to the spectators. In the Roman theatre the orchestra
was reduced to a semi-circle, on the diameter of which was the front
of the stage. In the old Italic theatre from which the Roman
theatre was derived there was no chorus, so that the stage was
always slightly raised. At first the spectators stood, and then sat
parallel to it, and the orchestra and auditorium were only added
later from the Greek type of theatre (Fiechter, Baugeschichtliche
Entwickelung der Antiken Theaters, 75). This work should be
considered for information in regard to the architecture of the
ancient theatre. He divides its development into five stages
(p. 84) :—
1. Primitive stage—no seats.
2. Stage with space behind ; seats in front.
3. Combination of the two into a rectangular building.
4. Rectangular building with curved seats.
5. Open semi-circular building after Greek plan but with
Roman construction and fagade.
The greatest change, however, is found in the scaena, which was
raised to a great height1 and decorated with great sumptuousness.
The Greek theatre was generally excavated in the side of a hill,
so that no substructure was required for the rising tiers of seats
in the auditorium. The Romans occasionally availed themselves
of similar opportunities, as found in the theatres of Asia Minor and
Syria. In Rome, however, the introduction of vaulting enabled the
Roman architect to build tier above tier of corridors, with staircases
leading to the various parts of the theatre. These corridors, whilst
' serving as communication between the staircases, were probably
used as refuges in case of heavy rain, and that is suggested by the
fact that in most of the theatres excavated in the side of a hill
there are great porticoes which might be used for that purpose.
1 The proscaenium of the Greek theatre (cf. Fiechter, p. 100 : Fig. 7, from
Amer. Journ. Arch., VII, PI. XI—Theatre at Eretria) was abolished ; it has
no connexion with the Roman sccsncs frons, inasmuch as its colonnade stood,
not behind, but under the stage, which it supported. The origin of the decora-
tion of the sccencB frons is, however, Hellenistic (the back of the stage having
large openings in which paintings gave an idea of a distant perspective), as
we learn from a study of the paintings of Pompeii; but it became more and
more magnificent as time went on. Little or no scenery was therefore required
except scenes hung on to the back wall (Fiechter, 118).
87
Theatres.
The tendency in the later development of the Greek theatres was
to bring the stage forward into the orchestra, so as to place the actors
nearer to the spectators. In the Roman theatre the orchestra
was reduced to a semi-circle, on the diameter of which was the front
of the stage. In the old Italic theatre from which the Roman
theatre was derived there was no chorus, so that the stage was
always slightly raised. At first the spectators stood, and then sat
parallel to it, and the orchestra and auditorium were only added
later from the Greek type of theatre (Fiechter, Baugeschichtliche
Entwickelung der Antiken Theaters, 75). This work should be
considered for information in regard to the architecture of the
ancient theatre. He divides its development into five stages
(p. 84) :—
1. Primitive stage—no seats.
2. Stage with space behind ; seats in front.
3. Combination of the two into a rectangular building.
4. Rectangular building with curved seats.
5. Open semi-circular building after Greek plan but with
Roman construction and fagade.
The greatest change, however, is found in the scaena, which was
raised to a great height1 and decorated with great sumptuousness.
The Greek theatre was generally excavated in the side of a hill,
so that no substructure was required for the rising tiers of seats
in the auditorium. The Romans occasionally availed themselves
of similar opportunities, as found in the theatres of Asia Minor and
Syria. In Rome, however, the introduction of vaulting enabled the
Roman architect to build tier above tier of corridors, with staircases
leading to the various parts of the theatre. These corridors, whilst
' serving as communication between the staircases, were probably
used as refuges in case of heavy rain, and that is suggested by the
fact that in most of the theatres excavated in the side of a hill
there are great porticoes which might be used for that purpose.
1 The proscaenium of the Greek theatre (cf. Fiechter, p. 100 : Fig. 7, from
Amer. Journ. Arch., VII, PI. XI—Theatre at Eretria) was abolished ; it has
no connexion with the Roman sccsncs frons, inasmuch as its colonnade stood,
not behind, but under the stage, which it supported. The origin of the decora-
tion of the sccencB frons is, however, Hellenistic (the back of the stage having
large openings in which paintings gave an idea of a distant perspective), as
we learn from a study of the paintings of Pompeii; but it became more and
more magnificent as time went on. Little or no scenery was therefore required
except scenes hung on to the back wall (Fiechter, 118).