Relevant bibliographies by topics / Hellenistic Theater architecture

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Academic literature on the topic 'Hellenistic Theater architecture'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Hellenistic Theater architecture"

1

Michalopoulou, Anastasia, Iason Markantonis, Diamando Vlachogiannis, Athanasios Sfetsos, Vassilis Kilikoglou, and Ioannis Karatasios. "Weathering Mechanisms of Porous Marl Stones in Coastal Environments and Evaluation of Conservation Treatments as Potential Adaptation Action for Facing Climate Change Impact." Buildings 13, no. 1 (January 11, 2023): 198. http://dx.doi.org/10.3390/buildings13010198.

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This work presents the methodological approach followed for the study of the interaction of natural stone monuments with the local microclimate (exposure to RH, temperature alterations, wind, marine aerosol). This was implemented with the documentation of the associated weathering phenomena and the study of historic climate data of the area. The paper is focused on the main weathering mechanisms of the marly limestone at the Hellenistic theater of Zea in Piraeus, Greece. Based on the weathering phenomena identified, the development of the appropriate mitigation strategy was based on the physical, chemical and mechanical characterization of the natural stones, along with the evaluation of different conservation treatments, considering the characteristics of the coastal environment. Considering the mineralogy of marly limestones, silane-based materials were selected for providing both consolidation and water repellency effects. The evaluation of the conservation treatments was based on the modification of microstructural and water-related properties of natural stone samples, along with their consequent effect on their durability against accelerated aging tests. The results indicated that the design of migration actions proved to be multivariable parameter, depending on the intrinsic stone properties, the environmental parameters and the conservation efficacy of the treatments.
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Vasilenko, A. B., N. V. Polshchikova, O. I. Marceniuk, and А. V. Namchuk. "DEVELOPMENTANDESTABLISHMENTTHEARCHITECTURE OF THE HELLENIC THEATER FROM FOIKDANCE TO THEATER BUILDINGS, VII-II beforec.b." Problems of theory and history of architecture of Ukraine, no. 20 (May 12, 2020): 140–48. http://dx.doi.org/10.31650/2519-4208-2020-20-140-148.

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The tradition of the holidayswhich dedicatedtotheendof the grape harvest, was born in Hellada in ancient times, in the countryside and gradually moved to the cities. This process began in the VIII century BC. Holidays were dedicated to God Dionysus, he was responsible about the natural forces of the earth and vegetation, the mastery of viticulture and winemaking. The holiday started to name Dionysuy. One of the most important action –dance around a circle. Then it becamenational, it conducted in cities, where was taken the new forms. Actors or other free citizens of the city performed on the level of the round plan as a symbol (similar to the village dance in a circle) citywide holiday, the audience were also residents of the city, seats for which came down to the playground of actors in the form of a semicircular funnel. Initially, such places were arranged on artificial sub-constructions of wood. Such structures were prefabricated and were used many times. There have been cases of their collapse. Only after being in Athens to the second part of VI century BC such structures collapsed during the performance, it was decided more of this type of sub-exercise not to be used. From the end of the VI century BC, places for spectators were cut downin the natural hills. And the theaters themselves turned into stationary facilities, which contributed to many spectacular innovations and conveniences of actors -all this increased the visual efficiency of performances. From a simple place of national celebration gradually theaters turned into city-wide centers of state-political information (where the words of the actors conveyed to the audience the general provisions of state policy). For example, in the time of Pericles (444-429 BC), the poor free citizens of Athens were given theatrical money from the state treasury, which they had the right to spend solely on watching theatrical productions. Taking into account the fact that the theaters gathered several thousand spectators at the same time, the performances contributed to the dissemination of state information at a time for a large number of residents of the city. The Theatre of Deonis in Athens under the acropolis of the Acropolis accommodated 17,000 spectators from the total number of citizens in the heyday of 100,000. In addition, it was noticed that certain performances contribute to the optimistic mood of the ISSN 2519–4208. ПРОБЛЕМЫ ТЕОРИИ И ИСТОРИИ АРХИТЕКТУРЫ УКРАИНЫ.2020. No 20142audience, and this has a beneficial effect on their health. Therefore, it is no coincidence that theatrical productions (late classics of Hellas) were provided among the medical and recreational procedures in the “Asclepius” treatment and health procedures at VI C. in B.C.). The “Asclepius” architectural ensemble has a theatre as part of a medical and recreational center.Theatrical actions carried to the masses the state lines of ideology and politics, increased the general culture of the population while influencing the audience as wellness procedures. Theatrical performances were more effective than temple services. This is the need for the construction of theaters throughout Hellenism, where there was no city within Hellenistic borders, where there would be no theater. By the end of the III century BC, when the entire East Mediterranean world was subordinated to the Roman Republic, the type of theatrical construction of Hellas was completely formed. This was accepted by the Romans for their theatrical productions, gradually adapting it to the features of their mass-entertainment culture.
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Bier, Lionel. "The Lower Theatre at Balboura." Anatolian Studies 40 (December 1990): 69–79. http://dx.doi.org/10.2307/3642797.

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Amongst the standing remains of Greco-roman Balboura in northern Lycia are those of two theatres (Fig. 1). The smaller and better preserved clings to the steep south slope of the acropolis hill close to the line of the Hellenistic city's defence wall. The reports of early travellers provide little useful information about the monument, concerned as they are more with Balboura's rich epigraphic material than with her architecture. Spratt and Forbes, who visited the site in 1842 during their archaeological survey of the area, wrote a brief account, and nearly half a century later Petersen and Von Luschan published without comment a single photograph of the stage building's fine retaining wall showing its heavily bossed polygonal stones and its buttresses of squared blocks. No detailed picture was available, however, until the appearance in 1969 of the second volume of de Bernardi Ferrero's monumental survey of the ancient theatres in Asia Minor.The second theatre, located in a rocky bay in the hillside at the edge of the valley three hundred metres to the south, has attracted even less attention, and understandably so, for its remains consist of little more than the foundations for the stage building which lie half buried beneath earth and debris. De Bernardi Ferrero has published several photographs but no drawings. Her brief description concentrates on the system of arches supporting the pavement of the proscenium, an unusual feature for which she cites several parallels in the area.
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Bier, Lionel. "The Upper Theatre at Balboura." Anatolian Studies 44 (December 1994): 27–46. http://dx.doi.org/10.2307/3642980.

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The archaeological survey of Balboura in northern Lycia conducted between 1985 and 1990 under the direction of J. J. Coulton permitted the recording of a number of architectural monuments including two theatres. The first, located at the edge of the valley 200 metres south of the Roman town, was studied during the 1987 season and has been presented in a previous issue ofAnatolian Studiesas an unfinished monument of the late Roman period. The second theatre, situated on the steep southern slope of the acropolis hill some 70 metres above the floor of the gorge, was surveyed in the summer of 1990 and is the subject of this paper (Figs. 1, 2, 3).The monument was first described—briefly and without drawings—by Spratt and Forbes who made a hurried survey of the city site in 1842. Peterson and Von Luschan came through in 1882 and later published without comment the first photograph showing the impressive levelling platform that supported the scene building. The only study in modern times has been that of de Bernardi Ferrero which appeared in the second volume of her monumental corpus of classical theatres in Asia Minor. Time apparently did not permit a thorough survey which is hardly surprising considering the enormous scope of her undertaking but her observations, as far as they go, are sound, and her photographs numerous and well chosen. De Bernardi Ferrero's graphic documentation is inadequate, however, especially as regards the original appearance of the stage building which, although almost thoroughly denuded, provides more surface clues than her drawings indicate. Her late Hellenistic designation for the building, which remains unexcavated and has produced no inscriptions, is, in any case, accepted here.
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GELİR ÇELEBİ, Azize. "KING HEROD'S CAESAREA MARITIMA." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 37 (May 15, 2023): 135–46. http://dx.doi.org/10.31567/ssd.914.

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Caesarea Maritima is an ancient harbour city and is located on the Mediterranean coast of the present-day State of Israel. It was founded on an ancient Hellenistic Phoenician city called Straton Tower. King Herod, the founder of Caesarea Maritima, is a successful Roman ruler. Herod, whose most important architectural and engineering achievement in Caesarea was the Sebastos Harbour, established the city within the framework of the most advanced facilities of the period. He built not only Sebastos Harbour, but also a temple dedicated to Rome and Augustus, the Promontory Palace, a hippodrome, a theater and aqueducts, and established one of the most developed port cities of the period. Behind all these monumental and public buildings, the city of Caesarea Maritima is also a reflection of King Herod's imagination and entrepreneurial personality. In the article, it is aimed to present the port city Caesarea Maritima, founded by King Herod in ancient times: how it was formed, important structures and Herod's reconstruction activities, by blending the narratives of the Roman historian Josephus Flavius with archaeological data.
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Panagiotonakou, Maria. "Sicilian Theatres with Paraskenia Scene Buildings: An Updated Framework for their Chronological Integration." Journal of Greek Archaeology 6 (2021): 227–48. http://dx.doi.org/10.32028/9781789698886-11.

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Hellenistic theatre in Magna Graecia and Sicily differs in morphology from its contemporaries in Greece and Asia Minor. Since the beginning of the previous century, scholars have developed a discussion on a variety of issues in their attempt to better understand the architectural evolution of the Sicilian stone theatres, and in particular of their scene building. The most apparent and persistent problems lie in the uncertainty of dating and the morphology of each of the scene buildings. That is due to various difficulties that will be discussed further into this article. Over the last 100 years, this broad discussion has led to very different conclusions and interpretive proposals, especially regarding the dating of the original construction, the identification of the various building phases of these theatres, and the reconstruction proposals for their scene buildings. The issue of dating is related to the issue of the Romanization of Sicily and so far, it has been one of the most problematic chapters in the history of the island.1 Researchers evaluate differently both archaeological finds and historical sources, thus resulting in divergent interpretations of the significance of this period in the history of Sicily. With the results of the archaeological research of the last 30 years, the debate has been rekindled, causing a true polemic. At the epicenter of the enduring controversy are the four theatres with paraskenia scene buildings, namely the theatres of Tyndaris, Segesta, Solous and Iaitas. In this brief survey of the status quaestionis of the dating of these theatres, which makes no claims to comprehensive coverage, it is my intention to suggest that with the progress of archaeological research and the increase of scholarship on Hellenistic Sicily, we are offered arguments that can help us form a fresh interpretative framework for the chronological integration of these theatres and their architectural evolution.
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Books on the topic "Hellenistic Theater architecture"

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Cárcel, Juan Antonio Roche. La escena de la vida: Una interpretación sociológica y cultural de la arquitectura teatral griega. [Alicante]: Universidad de Alicante, 2000.

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Cárcel, Juan Antonio Roche. La escena de la vida: Una interpretación sociológica y cultural de la arquitectura teatral griega. [Alicante]: Universidad de Alicante, 2000.

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Wiegand, Armin. Das Theater von Solunt: Ein besonderer Skenentyp des Späthellenismus auf Sizilien. Mainz am Rhein: P. von Zabern, 1997.

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Italy) Giornate gregoriane (11th 2017 Agrigento. Theaomai: Teatro e società in età ellenistica : atti delle XI Giornate gregoriane (Agrigento, 2-3 dicembre 2017). Sesto Fiorentino (FI): All'insegna del giglio, 2019.

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Theatra: Teatri del mondo antico. Roma: Cosmopoli, 2006.

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Ancient Hellenistic and Roman amphitheatres, stadiums, and theatres: The way they look now. Portsmouth, N.H: P.E. Randall, 2003.

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Architecture of the Ancient Greek Theatre. Aarhus University Press, 2015.

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Frederiksen, Rune, Alexander Sokolicek, and Elizabeth Gebhard. Architecture of the Ancient Greek Theatre. Aarhus University Press, 2015.

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Book chapters on the topic "Hellenistic Theater architecture"

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Di Napoli, Valentina. "The parodos of the Greek theatres through time: from the Classical to the Roman imperial period." In Les théâtres antiques et leurs entrées, 23–62. Lyon: MOM Éditions, 2024. http://dx.doi.org/10.4000/11qqy.

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This article examines one of the main architectural features of the Graeco-Roman theatre, namely, the lateral entrances, focusing on a time span that stretches from the Classical to the Late Roman period. Firstly, matters of terminology are addressed. It is shown that the lateral entrances of the Greek theatre were referred to either by the generic word εἴσοδος or, at least from the early Hellenistic period onwards, by the terminus technicus πάροδος. Next, their symbolic significance and their importance from the functional point of view in the Classical and Hellenistic theatre and drama are examined. Architecturally, the parodoi were open-air corridors flanking the retaining walls of the auditorium. Finally, the analysis of the changes observed in performances and theatrical architectures during Roman times leads to the conclusion that the centuries-long history of the side entrances in Greek theatres is characterized by a consistent continuity in both form and function over time.
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Szczur, Piotr. "Ojcowie greccy wobec kultury antycznej." In Kościół a kultura, 259–80. Uniwersytet Papieski Jana Pawła II w Krakowie Wydawnictwo Naukowe, 2023. http://dx.doi.org/10.15633/9788363241964.11.

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The article shows the attitude of the Greek Fathers to selected aspects of ancient culture: the religion and religiosity of the ancient Greeks and Romans, philosophy and literature, architecture and art, and law and customs. The problem of the Christian writers’ attitude to the surrounding world dominated by the so-called Hellenistic culture became an important part of the teaching of the first Greek apologists, who had to clearly and unambiguously define what a Christian can accept from ancient culture and what he should reject. It is clear from their statements (and from the teaching of the later Greek Fathers) that Christians, in contact with Hellenistic culture, must not treat it en bloc, but should approach each of its elements individually, applying the principle of objective selection, which would enable them to properly assess what they can accept from it and what they should reject. Therefore, they responded positively to selected elements of ancient philosophical and literary culture, accepting what serves theology and human development. Indirectly, they responded positively to the achievements of ancient architecture by accepting certain architectural models as particularly suitable for sacred buildings. They also referred positively to ancient legal culture in many of its dimensions. On the other hand, with regard to the religion and religiosity of the ancient Romans, the Greek Fathers spoke out critically condemning all their manifestations, and from the beginning of the 4th century, the fight against paganism also took the form of destroying pagan places of worship. The Greek Fathers also spoke out strongly against the theater, considering all that went on in it to be completely incompatible with Christian morality.
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"5. Theatres and Stadia." In Studies in Hellenistic Architecture. Toronto: University of Toronto Press, 2005. http://dx.doi.org/10.3138/9781442657595-008.

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SCAHILL, DAVID. "The Hellenistic Theatre at Corinth:." In The Architecture of the Ancient Greek Theatre, 193–202. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.15.

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STYHLER-AYDIN, GUDRUN. "The Hellenistic Theatre of Ephesus:." In The Architecture of the Ancient Greek Theatre, 419–32. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.29.

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HAYWARD, CHRIS, and YANNIS LOLOS. "Building the Early Hellenistic Theatre at Sikyon." In The Architecture of the Ancient Greek Theatre, 161–76. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.13.

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Piesker, Katja. "Constructing, Deconstructing, and Reconstructing the “Temple of Dionysus” in Side, Pamphylia." In Building the Classical World, 152–69. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190690526.003.0010.

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When the Roman theater of Side in Pamphylia was built in the 2nd century CE it encroached upon a small Late Hellenistic podium building, the presumed “Temple of Dionysus.” Renewed archaeological and architectural investigations from 2009 until 2012 analyzed the history of the temple from its construction to its abandonment. The new documentation supports a considerably different layout of the initial Late Hellenistic temple, now with a shorter podium and a reversed orientation so that it was accessed by a narrow staircase from the south. At the very least, this staircase and the pronaos in the south had to be dismantled when the theater was built. A well-crafted extension of the podium to the north utilizing architectural members from the original structure suggests that the edifice may have been rebuilt in a revised form. This chapter focuses on that deconstruction and apparent reconstruction in the 2nd century CE. In doing so, it helps to explain restoration and rebuilding in the Roman Imperial period and also highlights some of the urban repercussions that followed the construction of the theater in Side.
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Sperber, Daniel. "Public Buildings." In The City in Roman Palestine. Oxford University Press, 1999. http://dx.doi.org/10.1093/oso/9780195098822.003.0010.

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Around the central market forum area, every Roman town with pride and pretensions to importance developed a number of public buildings that made up a standard set, the components of which we can glean not only from the remains themselves but also from Vitruvius’ architectural treatise. In Book 5 he sets out “the arrangement of public places” (publicorum locorum dispositiones), listing almost exactly the buildings to be found in any Greek and Roman city: forum, basilica, treasury, prison and councilhouse, theater with adjoining porticoes, baths, palaestra, and harbor and shipyards. We have already discussed the prominent nature of the bathhouse, the palaestra is specifically admitted by Vitruvius not to be a usual thing in Italy, and harbors and shipyards are obviously dependent on specific geographic location. Of the other buildings, the treasury and prison, although necessary, were probably of minor importance and therefore do not merit much attention in the sources, while the council and senate-houses are expected features in a society in which a self administering community was the standard form of political life. The one building that stands out as peculiarly Roman is the basilica, a large covered hall that performed the functions of the ubiquitous stoas of Hellenistic architecture, and is obviously loosely related to them, but had a form that appears to lack any clear parallel in the Greek world. We shall discuss and describe some of these focal points of the urban center, beginning with the most prominent, the basilica. The basilica is often identified with the courts of justice. However, this identification is by no means clear. Indeed, it served either as a court of law and seat of the magistracy or as a place of meeting for merchants and men of business. These two uses were so mixed that it is not always easy to state which was the principal. The basilica at Fanum, of which Vitruvius was the architect (5.1.6-10), was entirely devoted to business, and the courts were held in a small building attached to it—the temple of Augustus. In Pompeii the basilica was situated next to the public granaries (horrea), indicating its commercial functions.
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GREEN, JOHN RICHARD, CRAIG BARKER, and GEOFF STENNETT. "The Hellenistic Phases of the Theatre at Nea Paphos in Cyprus:." In The Architecture of the Ancient Greek Theatre, 319–34. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.22.

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WILKENING-AUMANN, CHRISTINE. "The Hellenistic Theatre in the Sanctuary of Hemithea at Kastabos (Asia Minor):." In The Architecture of the Ancient Greek Theatre, 233–52. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.17.

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