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Journal articles on the topic 'Roman theaters'
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1
Jay, Jeff. "The Problem of the Theater in Early Judaism." Journal for the Study of Judaism 44, no. 2 (2013): 218–53. http://dx.doi.org/10.1163/15700631-12340373.
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Abstract Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance.
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Goldberg, Sander M. "Theater without Theaters: Seeing Plays the Roman Way." TAPA 148, no. 1 (2018): 139–72. http://dx.doi.org/10.1353/apa.2018.0006.
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Boatwright, Mary T. "Theaters in the Roman Empire." Biblical Archaeologist 53, no. 4 (December 1990): 184–92. http://dx.doi.org/10.2307/3210163.
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Lynd-Porter, Adam, and Arthur Segal. "Theaters in Roman Palestine and Provincia Arabia." Journal of the American Oriental Society 116, no. 3 (July 1996): 599. http://dx.doi.org/10.2307/605221.
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Slater, W. J. "Pantomime Riots." Classical Antiquity 13, no. 1 (April 1, 1994): 120–44. http://dx.doi.org/10.2307/25011007.
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It is argued that there is no simple or single reason for the riots caused by pantomimes in early imperial Rome, and especially in 14 and 15 A.D. Theatrical passion has been suggested as the main cause, but other factors must be considered: the meaning of the theater as a symbol of order, the peculiar importance of the equestrian order in the architecture of the theater; the position of the main Roman theaters in their relation to the exercise grounds of the iuvenes; the complex relationships of the equestrian iuvenes with the pantomime artists. It is pointed out that it is not always easy to define a pantomime, or to know the nature of the program; but competition was certainly involved. It is argued that the policies of Tiberius toward the theater and the iuvenes were particularly productive of discontent, which led to repeated legislation to control it. The role of Drusus is probably crucial. A central role is also played by the theater claques, and the acclamations of the equestrians, the theater being their principal venue. Various connections between the equestrian iuvenes and the theater are considered. One key is the physical training of Roman youth, which had become affected by Greek concepts of gymnasium dancing, perhaps under the influence of rhetoric. This in turn made it possible for young Romans to develop quasi-pantomime skills, which they could demonstrate in their iuvenalia. Second, it is suggested that the Baths of Agrippa and their decoration can be seen as an indication of such a change in official policy, and their position next to the theaters is stressed. Third, the personal relations between pantomimes and the nobility is documented, and the importance of the private stage in Rome. Finally, the legislation of the Tabula Larinas is considered, as it affected nobles on the stage or in the arena, and other legal implications of this conflict between the senate and the youth are sketched.
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Retzleff, Alexandra. "The Dresden Type Satyr-Hermaphrodite Group in Roman Theaters." American Journal of Archaeology 111, no. 3 (July 2007): 459–72. http://dx.doi.org/10.3764/aja.111.3.459.
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Farnetani, Andrea, Nicola Prodi, and Roberto Pompoli. "On the acoustics of ancient Greek and Roman theaters." Journal of the Acoustical Society of America 124, no. 3 (September 2008): 1557–67. http://dx.doi.org/10.1121/1.2951604.
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Gade, Anders Christian, and Konstantinos Angelakis. "Acoustics of ancient Greek and Roman theaters in use today." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3148. http://dx.doi.org/10.1121/1.4787803.
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Weiss, Zeev. "Actors and Theaters, Rabbis and Synagogues." Journal of Ancient Judaism 8, no. 2 (May 19, 2017): 271–79. http://dx.doi.org/10.30965/21967954-00802010.
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The paper discusses the opposition of the rabbis in late antique Palestine to Roman public spectacles and their intentional incorporation of references to the theater, hippodrome, and amphitheater, and their performances, into their sermons. By speaking about these very same issues in their sermons, the rabbis essentially, and perhaps deliberately, became actors in their own communal theater – the synagogue. Based on a careful reading of the literary sources, it is argued that with the ironic use of the same tools and props employed in the theater the rabbis not only sought to condemn public entertainment, including theatrical performances, but also urged their communities to shun this leisure activity in favor of other “spectacles” more conducive and appropriate to the religious realm.
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RICE, JOHN. "The Roman intermezzo and Sacchini's La contadina in corte." Cambridge Opera Journal 12, no. 2 (July 2000): 91–107. http://dx.doi.org/10.1017/s0954586700000914.
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The origins of the Roman intermezzo, an important and influential sub-genre of Italian comic opera, can be traced back to the 1730s, when the composer and librettist Benedetto Micheli wrote several two-part intermezzi for the Teatro Valle and other theaters in Rome for performance during the intermissions of spoken plays. The Valle cultivated the intermezzo with particular consistency during the next six decades, presenting works by many distinguished composers, including Sacchini, Paisiello, and Cimarosa. Sacchini's La contadina in corte, on a libretto derived from Giacomo Rust's three-act comic opera of the same title, may serve as a good example of the Roman intermezzo.
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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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Ninfo, Andrea, Alessandro Fontana, Paolo Mozzi, and Francesco Ferrarese. "The Map of Altinum, Ancestor of Venice." Science 325, no. 5940 (July 30, 2009): 577. http://dx.doi.org/10.1126/science.1174206.
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Processing and interpretation of July 2007 digital visible and near-infrared aerial photographs, coupled by a digital terrain model, has allowed for detailed reconstruction of the topography and the paleoenvironmental setting of the Roman city of Altinum, shedding new light on the far origins of Venice. Images were taken during severe dry conditions, which stressed the maize and soy crops. The city walls and doors, the street network, dwellings, theaters, amphitheater, forum, emporia, basilica, and a complex network of rivers and canals have been mapped.
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Siry, Joseph M. "Chicago's Auditorium Building: Opera or Anarchism." Journal of the Society of Architectural Historians 57, no. 2 (June 1, 1998): 128–59. http://dx.doi.org/10.2307/991376.
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Adler and Sullivan's Auditorium Building in Chicago (1886-1890) is here analyzed in the context of Chicago's social history of the 1880s. Specifically, the building is seen as a capitalistic response to socialist and anarchist movements of the period. The Auditorium's principal patron, Ferdinand W. Peck, created a theater that was to give access to cultural and civic events for the city's workers, to draw them away from both politicized and nonpoliticized "low" urban entertainments. Adler and Sullivan's theater was to serve a mass audience, unlike opera houses of the period, which held multiple tiers of boxes for privileged patrons. This tradition was represented by the Metropolitan Opera House in New York City (1881-1883). Turning away from works like the Paris Opéra, Peck and his architects perhaps sought to emulate ideas of other European theaters of the period, such as Bayreuth's Festspielhaus (1872-1876). Sullivan's interior had an ornamental and iconographic program that was innovative relative to traditional opera houses. His design of the building's exterior was in a Romanesque style that recalled ancient Roman monuments. It is here compared with other Chicago buildings of its era that represented high capital's reaction to workers' culture, such as Burnham and Root's First Regiment Armory (1889-1891), Peck's own house (1887), and the Chicago Athenaeum (1890-1891). The Auditorium's story invites a view of the Chicago School that emphasizes the role of patrons' ideological agenda rather than modern structural expression.
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de Lucca, Valeria. "L'Alcasta and the Emergence of Collective Patronage in Mid-Seventeenth-Century Rome." Journal of Musicology 28, no. 2 (2011): 195–230. http://dx.doi.org/10.1525/jm.2011.28.2.195.
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This article sheds new light onto the process of transformation of the figure of the opera patron in Rome during the mid-seventeenth century. Following the travels of Giovanni Filippo Apolloni's libretto Amor per vendetta, ovvero L'Alcasta, I trace the dissolution of the ubiquitous individual court patron of the earlier part of the century into a network of agents behind opera production in commercial contexts. In every phase of the story of L'Alcasta—its commission, plans for production, staging, dedication, and subsequent revivals—we can detect diverse agencies shaping the libretto and score, which accommodated different needs and tastes and conveyed multiple social and political meanings. Showing how the Roman aristocracy experimented with new systems of production that would radically change the history of opera, L'Alcasta also raises broader questions concerning the presence and functions of “patronage” in commercial opera theaters. The trajectory that emerges in the history of opera patronage in the papal city during the second half of the century begins with collective forms of sponsorship during the 1660s and develops further, giving rise to Rome's first commercial opera theater during the 1670s, the Teatro Tordinona. In this context, at a time in which opera in Rome did not find full institutional support, Queen Christina of Sweden represented, at least nominally, the missing patron, a highly representative figure who stood in as guarantor of the new theater on behalf of the aristocratic class that produced and conspicuously consumed opera.
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Portnova, Tatiana V. "Architecture of Antique Theaters as an Element of the World Cultural Landscape." Observatory of Culture 17, no. 3 (August 6, 2020): 320–32. http://dx.doi.org/10.25281/2072-3156-2020-17-3-320-332.
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The article deals with the history of development of the antique theatrical architecture in the context of the environment that forms the territory acquiring the status of a cultural landscape. The material of antiquity is interpreted in the aspect of the formation evolution of theater buildings, ranging from ancient Greek to ancient Roman, which, despite being in ruins, amaze us with their large-scale and unspoiled architecture. The article attempts to systematize the valuable evidence of the past, material (theater architecture) and non-material (theater art), since the repertoire is alive as long as it is performed, and the theater architecture remains to posterity. There is considered their relationship in space and time. The study’s methods (descriptions of the phenomena under study, field observation, problem-historical analysis) made it possible to focus on the construction specifics of the theater buildings located in open spaces representing cultural landscapes — vast areas of co-creation of man and nature. Over the epochs, the theater architecture, designed for spectacular performances and connected with the environmental factor and acting art, was transforming, just as the theater itself was changing, sometimes within a single performance on a single stage. Fragments of the lost cultural experience are today open systems in associative, semantic, historical aspects, as well as in terms of objects reconstruction. They form an attractive and popular place that goes beyond the limits of urban planning conditions and has the property of an important public space. The composition of theater construction and the principles of shaping that formed in the ancient period had a great influence on their subsequent development and have been preserved in modern design solutions. In this context, the experience of interpreting the architectural monuments belonging to the theatrical art has a great cultural and educational value, not only in terms of reconstructing the lost stratum of cultural heritage, but also, to a greater extent, in modeling a new vision of the emerging architectural culture of the world.
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Sukaj, Silvana, Giuseppe Ciaburro, Gino Iannace, Ilaria Lombardi, and Amelia Trematerra. "The Acoustics of the Benevento Roman Theatre." Buildings 11, no. 5 (May 19, 2021): 212. http://dx.doi.org/10.3390/buildings11050212.
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During the Imperial Roman period, thousands of theatres were built. The theatres have three principal elements: the scene building (actor position), the orchestra and the cavea (spectator seating). The theatres were built without a roof, so they were open-air spaces. The theatres were abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres are the center of cultural events and are used for various kinds of shows. This work discussed the acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the scene building and in the orchestra, with the measurement microphones along three directions in the cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore, it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for different types of theatrical performances.
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Gebhard, Elizabeth R. "The architecture of theaters in the Roman empire - FRANK SEAR, ROMAN THEATRES: AN ARCHITECTURAL STUDY (Oxford Monographs on Classical Archaeology; Oxford University Press2006). Pp. xxxix + 465, pls. 144, figs. 33, plans 451, maps 7, tables 25. ISBN 978-0-19-814469-4. $360." Journal of Roman Archaeology 21 (2008): 489–97. http://dx.doi.org/10.1017/s1047759400004803.
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Brûlé, Stéphane, Stefan Enoch, and Sébastien Guenneau. "Role of nanophotonics in the birth of seismic megastructures." Nanophotonics 8, no. 10 (August 1, 2019): 1591–605. http://dx.doi.org/10.1515/nanoph-2019-0106.
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AbstractThe discovery of photonic crystals 30 years ago in conjunction with research advances in plasmonics and metamaterials, has inspired the concept of decameter scale metasurfaces, coined seismic metamaterials for an enhanced control of surface (Love and Rayleigh) and bulk (shear and pressure) elastodynamic waves. These powerful mathematical tools of coordinate transforms, effective medium and Floquet-Bloch theories which have revolutionized nanophotonics, can be translated in the language of civil engineering and geophysics. Experiments on seismic metamaterials made of buried elements in the soil demonstrate that the fore mentioned tools make a possible novel description of complex phenomena of soil-structure interaction during a seismic disturbance. But the concepts are already moving to more futuristic concepts and the same notions developed for structured soils are now used to examine the effects of buildings viewed as above surface resonators in megastructures such as metacities. But this perspective of future should not make us forget the heritage of the ancient peoples. Indeed, we finally point out the striking similarity between an invisible cloak design and the architecture of some ancient megastructures as the antique Gallo-Roman theaters and amphitheatres.
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Alayón, Javier, Sara Girón, José A. Romero-Odero, and Francisco J. Nieves. "Virtual Sound Field of the Roman Theatre of Malaca." Acoustics 3, no. 1 (February 14, 2021): 78–96. http://dx.doi.org/10.3390/acoustics3010008.
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In Hispania (present-day Spain and Portugal), there are 25 structures documented of classical Roman open-air theatres, of which 10 are in the south, in the Roman Baetica (Andalusia). The Baetica embraced the progress of urbanisation in the time of the Roman emperor Augustus, where theatres, built in stone, were the foci of entertainment, performance, and propaganda of the empire. The Roman theatre in Malaga presents the archaeological remains of the main vestige of the Roman Malaca. It is located in the historical centre of the city, at the foot of the hill of the Muslim Alcazaba and was discovered in 1952. It is a medium-sized theatre whose design corresponds to a mixed construction that combines making use of the hillside for the terraces, in the manner of Greek theatres, with a major construction where rock is non-existent, thereby creating the necessary space for the stands. In this paper, the production process, adjustment, and validation of the 3D model of the theatre are analysed for the creation of a numerical predictive model of its sound field. Acoustic properties of the venue are examined and the effect of the Muslim Alcazaba and the hillside on the various acoustic descriptors is analysed. The results highlight the influence of this large stone surface mainly on the time decay parameters.
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Pavlovski, Goce. "Designing the cavea of the theatre at Stobi." Journal of Roman Archaeology 31 (2018): 406–25. http://dx.doi.org/10.1017/s104775941800140x.
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The long history of excavation of the theatre at Stobi has yielded much information about the chronology, construction and usage of the building, as well as about post-theatre occupation of the area. Archaeological investigations in the 1970s and new excavations which began in 2009 have shown that construction of the theatre was initiated at the end of the 1st c. A.D. on the model of a western Roman theatre, as a building with a semicircular cavea and a scene building with an indented scaenae frons similar to the Augusta Emerita (Mérida) type. Construction was then interrupted for a certain period for unknown reasons. In the first half of the 2nd c. A.D. it was finished according to a different concept, one that resembled the Roman theatres of Asia Minor. In its final appearance the building included a cavea that exceeds a semicircle, a high podium around the orchestra, open parodoi, and a rectilinear scaenae frons (figs. 1-2); in its final form it incorporated the cavea from the first phase, whereas the scene building was completely remodeled.
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Đurica, Radmilla. "Imaginative Anarchy." Maska 31, no. 177 (June 1, 2016): 102–9. http://dx.doi.org/10.1386/maska.31.177-178.102_1.
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Like numerous other festivals, the PUF festival in Croatia got its start as an experiment, in this case following the war and disintegration of Yugoslavia. In an era of great crisis in the Croatian theatre scene, this international festival introduced a new dramatic vocabulary. It was founded in 1994 by the directors of three non-institutional theatres: Branko Sušec (PUF), Nebojša Borojević (the Daska Theatre in Siska), and Roman Bogdan (the Čakovec Pinklec). In the war-torn 90s, the founders decided that the festival was to take place in Pula and not Dubrovnik because the war had largely spared the former. The festival finalised its name, the PUF International Theatre Festival, in 1996.
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Balaskas, Vasileios. "Collective memory and Spanish cultural politics: the revival of the Roman theatre of Merida (1910–35)." Classical Receptions Journal 12, no. 4 (June 30, 2020): 470–85. http://dx.doi.org/10.1093/crj/claa004.
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Abstract In the twentieth century, ancient theatres acquired symbolic values through their excavation, restoration, and cultural reuse. While elsewhere in the Mediterranean comparable cases show an early and powerful engagement of a populace with their antiquities, in Spain national ideals did not automatically engage with classical culture. In the case of the Roman theatre of Merida, cultural and historical realities dictated a series of cultural events that repeatedly concerned collective memory. In addition to the main sequence of the unique occasions surrounding the 1933 and 1934 performances at the theatre, various other agencies had systematically focused on its exploitation from the 1910s. These initiatives were endorsed by numerous formal visits and cultural events that took place in the theatre, from as early as 1914. Through successive spectacles staged at the theatre, a cultural tradition emerged, while political agendas occasionally exploited its increasing popularity, right up to the Spanish Civil War.
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Barkas, Nikos. "The Contribution of the Stage Design to the Acoustics of Ancient Greek Theatres." Acoustics 1, no. 1 (March 23, 2019): 337–53. http://dx.doi.org/10.3390/acoustics1010018.
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The famous acoustics of ancient Greek theatres rely on a successful combination of appropriate location and architectural design. The theatres of the ancient world effectively combine two contradictory requirements: large audience capacity and excellent aural and visual comfort. Despite serious alterations resulting from either Roman modifications or accumulated damage, most of these theatres are still theatrically and acoustically functional. Acoustic research has proven that ancient theatres are applications of a successful combination of the basic parameters governing the acoustic design of open-air venues: elimination of external noise, harmonious arrangement of the audience around the performing space, geometric functions among the various parts of the theatre, reinforcement of the direct sound through positive sound reflections, and suppression of the delayed sound reflections or reverberation. Specifically, regarding the acoustic contribution of the stage building, it is important to clarify the consecutive modifications of the skene in the various types of theatres, given the fact that stage buildings were almost destroyed in most ancient Greek theatres. This paper attempts to demonstrate the positive role of the scenery in contemporary performances of ancient drama to improve the acoustic comfort using data from a sample of twenty (20) ancient theatres in Greece.
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Gómez Merino, José Luis. "Escaneado 3D e interpretación virtual del Teatro romano de Córdoba." Virtual Archaeology Review 3, no. 6 (November 1, 2012): 20. http://dx.doi.org/10.4995/var.2012.4422.
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<p>The remains of the Roman Theater in Córdoba are located in the cellars of the Archaeological Museum. We have scanned the remains in order to use them to explain the visitors the features of the theatre. With this scanned 3D information we have made videos and images across the path for visitors to perform visual information for them. The challenge consists in making the public enjoy using technical graphic information.</p>
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Bartsch, Shadi, and William J. Slater. "Roman Theater and Society." Phoenix 53, no. 1/2 (1999): 152. http://dx.doi.org/10.2307/1088131.
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Cueva, Edmund P. "The Idea of the Theater in Latin Christian Thought: Augustine to the Fourteenth Century." Theatre Survey 47, no. 1 (April 13, 2006): 127–29. http://dx.doi.org/10.1017/s0040557406290094.
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This is an unusual but good and sensible book. I write that it is unusual because The Idea of the Theater in Latin Christian Thought does not follow the predictable pattern of looking at the “materiality of medieval theater practices and historiography” (2). It instead looks at theatre as it appears in medieval thought and as “moments in European intellectual history” (4). Dox leads the reader through a thorough and erudite survey of the writings of some of the Latin Christian authors. She begins with Saint Augustine of Hippo and ends with Bartholomew of Bruges. The text has three major goals. First, the author examines what different postclassical, Christian authors knew about or thought of Greco-Roman theatre as a function of written discourse. The second goal is to keep the discussion of the late-antique and medieval understanding of ancient classical theatre in the intellectual contexts in which the texts were used. Lastly, Latin Christian views on classical theatre are examined in detail. The conclusion of this analysis demonstrates that the idea of “truth” as different from “falsehood” in the writings by the Latin Christian authors was the focus of their texts, rather than any actual interest in classical tragedy and comedy as genres in their own right.
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Gerould, Daniel. "Representations of Melodramatic Performance." Browning Institute Studies 18 (1990): 55–71. http://dx.doi.org/10.1017/s0092472500002868.
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Among the reformers advocating a people's theater in the early twentieth century, there were those theorists of culture for the masses, like Romain Rolland and Anatolii Lunacharsky, who realized that to appeal to a broad audience a genuinely popular theatre must not only be uplifting and civic in spirit, but also entertaining. They recognized that such a popular theater already existed in the nineteenth century in the form of melodramatic performance: it had democratized the stage, brought the lower classes into the theatre, reduced the gap between the actor and the auditorium, and enabled the spectator to enter into the action, thereby creating a sense of communion (Bradby and McCormick 15–29). Rather than proposing a return to the sacred rituals of Greece or the religious festivals of the Middle Ages as the basis of a people's theater, they argued that melodramatic performance—purified of its commercialism and crudity—offered the model for a revolutionary new popular art.
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Ronchi, D., M. Limongiello, and F. Ribera. "FIELD WORK MONITORING AND HERITAGE DOCUMENTATION FOR THE CONSERVATION PROJECT. THE “FORO EMILIANO” IN TERRACINA (ITALY)." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W15 (August 26, 2019): 1031–37. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w15-1031-2019.
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<p><strong>Abstract.</strong> The area of the “Foro Emiliano”, the current “Piazza del Municipio” in the coastal town of Terracina in southern Latium, consists of an articulated group of building belonging to different historical moments. On the roman pavement of the forensic square stand out: a Roman theatre, the urban cathedral, medieval houses, a roman temple and recent buildings dating from the first half of the 20th century. Thanks to recent funding the “Soprintendenza Archeologia, Belle Arti e Paesaggio per le province di Frosinone, Latina e Rieti” has undertaken the demolition of some modern houses insisting on the theatre’s porticus post scaenam and began an excavation of the entirely preserved cavea of the Roman theatre building. These interventions of urban archaeology were taken as an opportunity to plan an impressive 3D survey of the historic center, aiming: on one side at monitoring demolition and excavation work, offering a cartographic base for valorization projects, and on the other at the investigation of a vast monumental area. This paper analyses in detail the phases of integration, alignment, filtering and post processing of the acquired data, showing with evidence how the integration of active and passive sensors is the best approach in similar scenario.</p>
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Rozik, Eli. "The Functions of Language in the Theatre." Theatre Research International 18, no. 2 (1993): 104–14. http://dx.doi.org/10.1017/s0307883300017260.
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Roman Ingarden's publication of ‘The Functions of Language in the Theater’ (1958) was a landmark in the development of theatre theory in the twentieth century. Since its appearance several methods of research have radically influenced our understanding of the functions of language within this art, particularly semiotics, pragmatics and philosophy of language. More than thirty years after publication of Ingarden's work, it is sensible to address the same question once again and to suggest a theory that reflects the state of the art today.
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Al-Tawalbeh, Mohammad, Rasheed Jaradat, Khaled Al-Bashaireh, Abdulla Al-Rawabdeh, Anne Gharaibeh, Bilal Khrisat, and Miklós Kázmér. "Two Inferred Antique Earthquake Phases Recorded in the Roman Theater of Beit-Ras/Capitolias (Jordan)." Seismological Research Letters 92, no. 1 (November 4, 2020): 564–82. http://dx.doi.org/10.1785/0220200238.
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Abstract A Roman theater is recently being excavated at Beit-Ras/Capitolias in Jordan, which is one of the Decapolis cities, founded before A.D. 97/98. This is an archaeoseismological study that aims to investigate the temporal and intensity impacts of past earthquakes on the theater’s existing structure. A rich set of earthquake archaeological effects were identified, including deformed arches, tilted and collapsed walls, chipped corners of masonry blocks, and extensional gaps, indicating a seismic intensity of VIII–IX. The study identified at least two significant destruction phases that took part in the damage of the theater, which may have contributed to the abandonment of its major use as a theater at different periods. This is based on field observations of construction stratigraphy and damage features, the assessment of the observed destruction, and literature reports. The date of the first phase is bracketed between the establishment of the city (before A.D. 97/98) and the date of an inscription found in the walled-up orchestra gate (A.D. 261). The most likely candidate earthquake(s) for this immense destruction are the A.D. 233 and/or 245 events. Other moderate and less damaging events may have also occurred within the region but are not mentioned in available catalogs. After a major restoration, another earthquake phase occurred between A.D. 261 and Late Roman–Early Byzantine times, when the scaena wall tilted and collapsed, rendering the building useless and beyond repair. Subsequently, the theater was then filled with debris and was abandoned. The most probable causative earthquake of the second phase of destruction is an event in A.D. 363. The article provides a rich discussion of potential causative earthquakes, based on archaeoseismological, construction stratigraphy observations, and calibrated intensity of historical earthquake-based attenuation modeling. It identifies the potential phases and types of destruction and reuse.
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Maslikova, I. I. "POLYFUNCTIONALITY AND CULTURAL VALUE OF PUBLIC SPACE: HISTORICAL AND CULTURAL STUDY OF AN URBAN SQUARE." UKRAINIAN CULTURAL STUDIES, no. 2 (5) (2019): 88–92. http://dx.doi.org/10.17721/ucs.2019.2(5).16.
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The article explores changes in the organization and functioning of public space in cities in the context of sociocultural dynamics – from antiq- uity to modernшен. The sociocultural features of open urban space in ancient Greece and Rome, Renaissance Italy, modern Europe, the USA, Latin America, Ukraine are clarified. The experience of the functioning and management of public space is analyzed on specific examples of world- famous urban squares – Antique agora, roman forum, piazza del Campo in Siena, piazza della Signoria in Florence, piazza San Marco in Venice, Union Square in New York, Latin American squares, Bibikovsky boulevard and University park in old Kyiv, "Maydan" – Independence Square in contemporary Kyiv. Particular attention is being given to transformations of ceremonial, religious, recreational, economic, political, aesthetic and moral functions of open public space. Urban squares are places for official celebrations and religious rituals. They serves as a place of a rest, reali- zation of creative ideas and are a conductor of public communication. Public spaces create opportunities for trade, affect the formation and reten- tion of real estate prices, and are a means of attracting investment and business development in them and adjacent territories. All these provide opportunities for uniting citizens for joint projects and activities, political protests or symbolization of power. It is noted that the cultural value of the modern square is manifested in architectural forms, aesthetics of recreational areas and historical monuments, and is associated with its ability to be a place for the proclamation and implementation of high moral ideals of order, equality, solidarity, freedom, independence, human dignity, the value of moral rights and civic virtues. From the time of antiquity to the present day, the central squares of cities, as a public space, reproduce the aesthetics of the city and become a symbol of spiritual and political power, since temples, municipalities, financial and commercial institutions, theaters, and restaurants are often concentrated in such spaces.
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Filipe, Victor. "As ânforas do Teatro Romano de Olisipo (Lisboa, Portugal): campanhas 2001-2006." SPAL. Revista de Prehistoria y Arqueología de la Universidad de Sevilla, no. 24 (2014): 129–63. http://dx.doi.org/10.12795/spal.2015i24.06.
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Sear, Frank B. "Vitruvius and Roman Theater Design." American Journal of Archaeology 94, no. 2 (April 1990): 249. http://dx.doi.org/10.2307/505952.
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Ros, Karen E. "The Roman Theater at Carthage." American Journal of Archaeology 100, no. 3 (July 1996): 449. http://dx.doi.org/10.2307/507025.
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Izenour, George. "The Ancient Roman Roofed Theater." Perspecta 26 (1990): 69. http://dx.doi.org/10.2307/1567154.
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Topçu, Hayrunisa. "Romandan Tiyatroya: Değirmen - Sarıpınar 1914 / From Novel to Theatre: Degirmen - Saripinar 1914." Journal of History Culture and Art Research 6, no. 4 (October 1, 2017): 960. http://dx.doi.org/10.7596/taksad.v6i4.1046.
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<p><strong>Abstract</strong></p><p>Reşat Nuri Güntekin is one of the prolific author of Turkish Literature. He owns a lot of literary works within novel and theatre play genres. He cogitated about all components of theatre from decor, till play writer and he wrote many articles. His study on this field was continued by other authors in the following years. Turgut Özakman is a writer who, like Reşat Nuri, has been thought over play writing and studied on theoretical part of theater. The novel named <em>Değirmen </em>which was published in 1944 by Reşat Nuri, was adapted to theater by the name of <em>Sarıpınar 1914</em> by Turgut Özakman. The play was first staged by Ankara Sanat Tiyatrosu on 16 February 1968.</p><p>With the increasing interdisciplinary studies in recent years, the concept of adaptation has attracted the attention of researchers from almost every field. Therefore, the studies adapted from novel to theater have been discussed again with a new point of view. In this article named<em> Romandan Tiyatroya: Değirmen / Sarıpınar 1914,</em> Reşat Nuri’s novel <em>Değirmen</em> and Turgut Özakman’s theatre play <em>Sarıpınar 1914</em> will be evaluated in the framework of the “adaptation theory”. It will be discussed the differences between the novel and theatre play and also reasons of the differences with the comparative evaluations made on the concept of plot, character, time and place.</p><p> </p><p><strong>Öz</strong></p><p>Reşat Nuri Güntekin, Türk edebiyatının en üretken yazarlarından biridir. Özellikle roman ve tiyatro türünde birçok eseri vardır. Tiyatro konusunda dekordan oyun yazarlığına kadar her alanda kafa yormuş ve bu konuda birçok makale yazmıştır. Onun bu alanda yürüttüğü çalışmalar sonraki yıllarda başka yazarlar tarafından da devam ettirilmiştir. Turgut Özakman da tıpkı Reşat Nuri gibi oyun yazarlığı ile meşgul olmuş ve tiyatronun kuramsal kısmı üzerinde çalışmış bir yazardır. Reşat Nuri’nin 1944’te yayımlanan<em> Değirmen </em>isimli romanı, Turgut Özakman tarafından<em> Sarıpınar 1914</em> adıyla tiyatroya uyarlanmıştır. Oyun ilk kez 16 Şubat 1968 tarihinde Ankara Sanat Tiyatrosu tarafından sahnelenmiştir.<em> </em></p><p>Son yıllarda disiplinler arası çalışmaların artmasıyla birlikte uyarlama kavramı neredeyse her alandan araştırmacıların dikkatini çekmektedir. Dolayısıyla romandan tiyatroya aktarılan eserler de yeni bir bakış açısıyla tekrar ele alınmaya başlanmıştır. <em>Romandan Tiyatroya: Değirmen / Sarıpınar 1914 </em>adlı makalede Reşat Nuri Güntekin’in <em>Değirmen </em>isimli romanı ve Turgut Özakman’ın <em>Sarıpınar 1914</em> adlı tiyatro oyunu, “uyarlama kuramı” çerçevesinde değerlendirilecektir. Özellikle olay örgüsü, kişiler, zaman, mekân kavramları üzerinden yapılacak karşılaştırmalı değerlendirmelerle, iki eser arasındaki farklılıkların nedenleri ve bu farklılıkların uyarlanan eser üzerindeki etkileri tartışılacaktır. </p>
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Mojžišová, Michaela. "Contribution of Slovak Directors to the Profile of the Czech Opera Theatre After 1993." Slovenske divadlo /The Slovak Theatre 66, no. 4 (December 1, 2018): 380–97. http://dx.doi.org/10.2478/sd-2018-0023.
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Abstract The ambition of the survey study, which maps the work of Slovak directors in Czech opera theatres after 1993, is to identify the number of Slovak creators in the opera-theatre discourse of the very closely connected countries in terms of culture and history while at the same time adding the professional biographies of Slovak artists – who are little known and reflected upon in their homeland – and parts of their works. The author concludes that the split of the Czechoslovak Republic and the subsequent creation of separate Czech and Slovak Republics did not have an adverse effect on the mutual contacts of our opera cultures. At present, we even enjoy intensified co-operation in both directions. The nonjudgmental attitude of Czech theatres towards the influence of Slovak film directors in the Czech Republic is clear: not only credible creators (Marián Chudovský), but also representatives of the younger generation of opera directors (Andrea Hlinková) and renowned drama directors with previous opera experience (Martin Huba, Roman Polák), as well as creators who had not yet worked on the opera scene at home (Martin Čičvák, Sláva Daubnerová) were presented with an opportunity to contribute. Despite the fact that their works represented the enrichment of the Czech opera-theatre, the Slovak director with the most significant contribution to the Czech opera theatre remains Jozef Bednárik, even two decades later.
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Compaña, J. M., A. Cabeza, M. A. G. Aranda, L. León-Reina, M. Corrales, and M. P. Corrales. "Terra-cotta figurines from the Roman theatre of Malaga (Spain): An archaeometric study." Boletín de la Sociedad Española de Cerámica y Vidrio 53, no. 3 (June 30, 2014): 139–48. http://dx.doi.org/10.3989/cyv.182014.
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Farnetani, Andrea, Patrizio Fausti, Roberto Pompoli, and Nicola Prodi. "Acoustical measurements in ancient Roman theatres." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2477. http://dx.doi.org/10.1121/1.4782547.
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Richmond-Garza, Elizabeth M. "Concentrating on and in Literature." PMLA/Publications of the Modern Language Association of America 117, no. 3 (May 2002): 506–9. http://dx.doi.org/10.1632/003081202x61287.
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Language rustles. its particularity can be heard and even described. When Roland Barthes first suggested this metaphor for the ways in which language is detectable per se, he offered a structuralist rejection of the mimetic and hermeneutic models of literature. Nearly forty years later, his insistence on the detectability of language suggests a defense of literary study that is profoundly humanistic. Barthes's literature, with its special discursive density, answers the claim that literature programs, which perhaps were never seen as fully practical, have betrayed the public trust through aloof hermeticism since the advent of poststructuralism in the 1970s. The case for majoring in literature either has too fine a historical pedigree or goes too much against the grain of the current institutional and political emphasis on utility and accountability in education. Thus, the imperial Roman rhetorician Plutarch felt the need to write a defense of literary education in “How a Young Man Should Hear Lectures on Poetry.” Indeed, despite the successful closing of the commercial theaters in 1642 by the Puritan London City Council, new plays continued to be encouraged, written, and performed in the universities of Oxford and Cambridge without interruption. Even Glavrepertkom, instead of silencing Soviet literature, policed it and honed it into a distinctively effective system of ideological dissemination, albeit with the censorship of such luminaries as Vsevolod Meyerhold and Aleksandr Solzhenitsyn. My essay, with its claim that our students should continue to concentrate in literature, has thus already been written and enacted, even under strict surveillance of extremist governments. In the face of so many arguments for applied literary studies as one of “the basics,” for the integration of the literary into the pedagogical, there is in the academy a sense that a literary education is at best supplemental. It is a pleasing option to consider, budgets permitting, after writing and analytic reasoning have been addressed. A case for majoring in literature can and must be made, and it can avoid the cultural globalism of E. D. Hirsch's arguments for an exclusionary “cultural literacy.” It can also avoid taking refuge in Harold Bloom's justifications for a canon, which are centered on an Emersonian view of Shakespeare's necessity, lest “we cease to think” (41).
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Roby, Courtney. "Natura machinata: artifacts and nature as reciprocal models in Vitruvius." Apeiron 46, no. 4 (October 2013): 419–45. http://dx.doi.org/10.1515/apeiron-2012-0041.
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Abstract The De architectura of Vitruvius represents architecture as a discipline blending elements of theory and practice, science and social utility, and Greek and Roman culture. His vision of architecture accordingly embraces both the natural and the artificial, emphasizing the connections between their governing principles rather than a polar or antagonistic opposition. He uses this connection to clarify and simplify his descriptions of both natural systems and mechanical artifacts, and to reinforce each body of knowledge using what is known from the other. The analogy between the natural and artificial appears as well in other ancient authors, but Vitruvius restructures this analogy in a distinctive way. His version is predicated on the careful observation of a specific set of mechanical artifacts, each chosen because it models some natural phenomenon particularly well. Artifacts that model natural phenomena, such as clocks and celestial models, help the user to visualize natural systems that may not be subject to direct sensory apprehension because of their great size. He insists that mechanical cleverness can elucidate the divinity within the principles of natural phenomena, which would otherwise remain hidden in the heavens. Vitruvius complements this type of modeling with a reciprocal version in which natural phenomena serve as models to shape technological works like theaters. Throughout the De architectura, Vitruvius proposes a variety of ways in which the natural and artificial can model one another. A material model may replicate the behavior of a natural system which is already known from observation; a material model may replicate unknown but hypothesized behavior of such a system; finally, a hypothesized material model may replicate the hypothesized behavior of a natural system through a kind of thought-experiment. Alternatively, the unknown behavior of one natural system may be hypothesized to resemble the behavior of another natural system known from observation, and this hypothesis applied to the design of man-made artifacts. From this viewpoint, describing technological artifacts and explaining the natural world are mutually reinforcing activities. So, in composing the De architectura, Vitruvius is not merely attempting to provide a picture of the state of the art of technology in his day, but is at the same time seeking to communicate a particular technologically-informed way of understanding natura itself.
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Monrós-Gaspar, Laura. "A ‘Distinctive’ Map of London: Women, Theatre and the Classics in 1893." Nineteenth Century Theatre and Film 47, no. 1 (February 12, 2020): 26–42. http://dx.doi.org/10.1177/1748372719900453.
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Copious geographies of nineteenth-century London spectacle have been mapped following different scales and criteria. In this article, I invite readers to scrutinise London’s entertainment industry in 1893 focusing on the venues where modern reconfigurations and adaptations of Greek and Roman mythology by women were first staged. Such a map reveals microhistories of the streets, theatres, pleasure gardens and concert halls, where women as creators and agents of the classical revival played an essential role that has generally been forgotten by theatre historians and classical reception studies. As I aim to demonstrate, this new and gendered cartography challenges the notion of a classical repertoire and the boundaries between the popular and the legitimate.
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Pöhlmann, Egert. "Vitruvius De Architectura V." Greek and Roman Musical Studies 9, no. 1 (March 29, 2021): 157–74. http://dx.doi.org/10.1163/22129758-12341380.
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Abstract In Book 5 of De architectura, the main subjects of Vitruvius are the Roman and Greek theatre and their acoustic qualities, explained with the help of several Greek theories. Vitruvius tries to enhance them by introducing a system of assisted resonance. Following the Harmonics of Aristoxenus, he recommends equipping theatre buildings with ἠχεῖα of bronze or earthenware, with the aim of increasing the strength of the voices of actors. Archaeological evidence for such equipment is nonexistent. But in Eastern and Western churches, vessels under the floor and in the walls were found. The Western examples begin in Carolingian times, when De architectura became known again. Thus, there is a debate about whether or not the work of Vitruvius had an influence on Carolingian architecture. The ἠχεῖα of Vitruvius and the resounding vessels in churches work as Helmholtz-Resonators, the sound-absorbing effects of which were used in churches with high internal resonance, while their sound-reinforcing effects were the aim of the ἠχεῖα in theatres.
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Campi, M., A. di Luggo, D. Palomba, and R. Palomba. "DIGITAL SURVEYS AND 3D RECONSTRUCTIONS FOR AUGMENTED ACCESSIBILITY OF ARCHAEOLOGICAL HERITAGE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 205–12. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-205-2019.
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<p><strong>Abstract.</strong> This paper presents part of the results of a larger research project that focused on the surveying and documenting of Roman theatres and amphitheatres in the Campania region as well as the testing of a virtual fruition system for the digital reconstruction of a case study: the Roman theatre of Benevento. The work was carried out by the research group at the Interdepartmental Urban/Eco Research Centre of the University of Naples Federico II in collaboration with Spinvector, a company specialized in ICT – Information and Communication Technology – which lead to the defining of a fruition system of Cultural Heritage applied to archaeological heritage.</p><p>The project included 3D digital surveys of the study samples carried out using reality-based techniques, which allowed for the acquisition of metric, morphological, geometric and colorimetric data. This made it possible to elaborate three-dimensional models, based on the current configuration of the places as well as of the possible original reconfigurations.</p>
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Pensabene, Patrizio. "Frank Sear: Roman theatres: An architecural study." Gnomon 87, no. 2 (2015): 149–57. http://dx.doi.org/10.17104/0017-1417_2015_2_149.
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Pickersgill, Clare, and Paul Roberts. "New light on Roman Sparta: Roman pottery from the Sparta theatre and stoa." Annual of the British School at Athens 98 (November 2003): 549–97. http://dx.doi.org/10.1017/s006824540001697x.
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The Roman pottery recorded and discussed in this article was excavated at the theatre and stoa in Sparta under the Direction of G. B. Waywell and J. J. Wilkes. The largest group of material came from trench ST XV, excavated in the west parodos of the theatre in 1997 and 1998, while the second group of material was excavated in the west end of the stoa in 1991. The new groups of material studied and published in this article have built upon earlier work (D. Bailey on the stoa and J. Hayes on the theatre) to begin to develop a chronological typology for the Roman pottery of Sparta. The development of this pottery sequence has provided for the first time a solid basis for Roman ceramic studies in the area and opens new avenues for investigating broader economic, social and political issues.
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Olechowska, Elżbieta. "Ancient Plays on Stage in Communist Poland." Keria: Studia Latina et Graeca 20, no. 3 (November 22, 2018): 41–74. http://dx.doi.org/10.4312/keria.20.3.41-74.
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A recently published analytical register of all ancient plays and plays inspired by antiquity staged in Poland during communism, provided factual material for this study of ancient drama in Polish theatre controlled by the state and of its evolution from the end of WW2 to the collapse of the Soviet regime. The quasi-total devastation of theatrical infrastructure and loss of talent caused by the war, combined with an immediate seizing of control over culture by Communist authorities, played a crucial role in the shaping of the reborn stage and its repertoire. All Aeschylus’ plays were performed at various points during the period, four out of seven Sophocles’ tragedies – with Antigone, a special case, by far the most popular – about half of the extant Euripides’ drama, some Aristophanes, very little of Roman tragedy (Seneca) and a bit more of Roman comedy (Plautus). The ancient plays were produced in big urban centres, as well as in the provinces, and nationally, by the state radio and later television. The various theatres and the most important directors involved in these productions are discussed and compared, with a chronological and geographical list of venues and plays provided.
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Carney, Sean. "The Tragedy of History in Sarah Kane's Blasted." Theatre Survey 46, no. 2 (October 25, 2005): 275–96. http://dx.doi.org/10.1017/s0040557405000165.
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The first performance of Sarah Kane's Blasted in 1995 is already widely regarded as a landmark in the history of contemporary theatre in England, singled out for the same reason that Edward Bond's 1965 Saved and Howard Brenton's 1980 The Romans in Britain achieved notoriety. Blasted belongs in this genealogy of English plays in that all drew attention to themselves with instances of raw violence represented onstage and contextualized within situations of scathing social criticism. Saved contains an infamous scene in which the apathy of a group of dispossessed urban youths leads them to the casual stoning to death of a baby in its pram, and in The Romans in Britain a young Celtic seer is raped onstage by a Roman centurion. In both cases, these instances of visual shock became decontextualized and held up to the public eye, a disassembling of the part from the whole, which constituted an act of interpretive violence perpetuated against the dramas themselves. The violence in Blasted was similarly decontextualized and sensationalized in the British press. Yet in contrast to Bond and Brenton, Kane's brief body of work quickly received sober reevaluations on the part of previously hostile theatre critics, largely as a result of her suicide in February 1999 at the age of twenty-eight. While Kane had always had supporters among theatre workers, including Edward Bond, who had appreciated the strength of her work from the outset, Blasted is now also praised as a major work of theatre by critics who were previously happy to mock the play and vilify its author.
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Malamud, Martha. "Vandalising Epic." Ramus 22, no. 2 (1993): 155–73. http://dx.doi.org/10.1017/s0048671x00002496.
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William Levitan concluded a study of the fourth century poet Optatian with the sentence, ‘The marble bones of Rome itself were chopped for a thousand years to raise the buildings of Europe.’ The theatres, baths and other edifices constructed by the Romans never wholly perished; they served the local populations for centuries as quarries for building materials. The writers of late antiquity treated the Latin literary tradition the same way that later inhabitants treated the ruins of Roman buildings, as a source for appropriate building blocks. The dismemberment of magnificent structures, whether architectural or literary is, to be sure, a kind of vandalism, but perhaps in the post-modern, resource-hungry world of the mid-1990's we can bring ourselves to think of it as something more positive, as an attempt to salvage and recycle valuable material.
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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.