Argos (modern Argos, Greece)

Argos (Greek: Άργος [ˈarɣos]; Ancient and Katharevousa: Ἄργος [árɡos])

Modern Argos, Greece

Greek / Roman Theatre

ca. late 4th cent. BCE

37.63159, 22.71961

16,000 - 20,000

Cavea Width: 77 meters
Orchestra Width: 26 meters

Argos Theatre (modern Argos, Greece). Cavea width: 77 m., 100 m. depth, 81 seating rows divided into 3 sections cut into rock; evidence of square vela holes cut into seating; possible remains of Charonian stairway (tunnel with entrance in orchesta floor); orchestra width: 26 m.; heavily remodeled in Roman times (120 CE) including kolymbethra; capacity: 20,000; earliest date: ca. late 4th cent. BCE.

Argos (modern Argos, Greece)
Argos Panoramas

Introduction

The ruins of two distinct theater sites, situated just 100 meters from each other, have been excavated in Argos. The first recorded date for the excavation of a theater here was 1892, when I. Kophiniotis partially unearthed the larger, Hellenistic theater. Although it is unclear when, exactly, the theaters fell into disuse, changes made to the theater, the odeum, and other Argive sites point to sustained activity as late as the fourth and fifth centuries A.D. These theaters could have been buried for as many as 1,400 years (Princeton Encyclopedia of Classical Sites)

The ancient Theatre at Argos is situated in the modern city of Argos in the Argolis region of Greece. Located at approximately 37°37’44″N, 22°43’28″E, the theatre is built against the western slope of the Larissa hill, a prominent landmark that dominates the city’s landscape. The theatre occupies a strategic position within the ancient city’s urban layout, positioned near the ancient agora (public square). In close proximity to the large theatre is a smaller theatre with rectilinear seating, which was later converted into an odeum (roofed theatre) (Sear 386). 

History

The larger and more famous Theatre of Argos was constructed during the last third of the 4th century BCE, coinciding with the increased prominence of theatrical performances throughout the Greek world (Sear 386). 

Throughout its history, the theatre underwent several significant renovations that aligned with changes in political control and theatrical practices. A Doric portico was added in the 2nd century BCE, enhancing the theatre’s grandeur. During the Roman period in the 2nd century CE, substantial modifications were made, including the demolition of the Hellenistic scene building and the construction of a new Roman stage (Vollgraff, “Le théâtre d’Argos” 193-203). The most dramatic renovation occurred in the late 4th century CE, when the scene building was rebuilt with elaborate architectural features (Sear 386).

Pausanias, the Greek traveler and geographer of the 2nd century CE, mentioned the theatre in his “Description of Greece” (2.20.7-8), attesting to its continued significance during the Roman imperial period (Gogos 329-339).

Theatre Specifications

The following specifications are drawn from Frank Sear’s reference book, Roman Theatres: An Architectural Study, Oxford University Press, 2006, except where otherwise noted.

Location:

• GPS coordinates: 37°37’44″N, 22°43’28″E
• Orientation: Facing east
• Position: Built against the Larissa hill, located south of the smaller theatre with rectilinear seating
• Topographical details: The theatre utilizes the natural slope of the Larissa hill, with the central section of the cavea primarily rock-cut (Sear 386)

Cavea:

• Radius: 77 meters in the central section (contracting toward the sides)
• Angle: Exceeds a semicircle (200°)
• Distance: Over 100 meters from the top row of seats to the back of the scene wall
• Seating capacity: Approximately 20,000 spectators (Traversari, “Spettacoli in acqua” 34-36)
• Division of seating: 81 rows of seats (dimensions 0.34 × 0.745-0.76 m)
• Special features:
  • Lower praecinctio (horizontal walkway) with width of 1.38 m, bordered by a rock-cut wall 0.59 m high
  • Upper praecinctio with width of 2.60 m, surrounded by a wall 1.285 m high
  • Boundary wall at the top of the cavea just above the 81st row
  • Row of seats with a continuous back around the orchestra (Sear 386)
• Construction materials: Primarily rock-cut in the middle section of the cavea
• Notable modification: In Roman times, the seventh row of seats from the bottom was removed and replaced with a deep, covered drain (Roux 376-395)

Orchestra:

• Diameter: Approximately 26 meters
• Construction: Rock-cut
• Features:
  • Surrounded by a rock-cut drain (width 0.40 m, depth 0.28 m)
  • Circle of stones (diameter 14.50 m) concentric with the cavea, defining the central part of the orchestra
  • Post holes (0.14 × 0.18 × 0.20 m deep) spaced 2.35 m apart were cut immediately in front of the prohedria (front row seating), likely for a temporary barrier system (Sear 386)
• Late Roman modification: Transformation into a kolymbethra (water basin) by adding a masonry wall (height 1.10 m, thickness 0.40 m) veneered in marble, built 1.50 m outside the stone circle, allowing the orchestra to be flooded for aquatic performances (Traversari, “Spettacoli in acqua” 34-36)

Pulpitum/Stage:

• Hellenistic period: Stage supported by columns
• Roman period:
  • Brick stage (height 1.10 m, width 4.50 m)
  • Positioned 2.50 m west of the Greek stage
  • Features alternately curved and rectangular niches
  • Cuts across the orchestra circle
  • Ends touch the edges of the cavea, cutting off the parodoi (side entrances)
  • Late Roman decoration: Geometric mosaics added to the edges of the stage (Sear 386)

Scaenae Frons:

• Hellenistic period: Façade wall and foundations of the back wall survive, with a Doric portico built against it looking east
• Late Roman reconstruction (late 4th century CE):
  • Front of scene rebuilt with 6 large masonry piers
  • Each pier carried a pair of Corinthian columns
  • Three doorways incorporated into the design (Vollgraff, “Fouilles d’Argos” 146)

Decoration:

• Late Roman period:
  • Marble veneer used for the kolymbethra wall
  • Geometric mosaics decorating the edges of the stage
  • Architectural ornamentation including Corinthian columns in the scaenae frons (Sear 386)

Access Points:

• Parodoi (side entrances): The south parodos measured 11 meters in length
• Circulation: The two praecinctiones (horizontal walkways) facilitated movement within the cavea
• Vela (awning) support system: Square holes (approximately 0.34 m square, depth 0.30 m) cut into the backrests of specific rows (1st, 11th, 23rd, 37th, 48th, 61st, and 74th), with smaller, shallower holes in between (0.24 m square, depth 0.27 m) in the 61st and 74th rows; roughly circular emplacements (0.14 × 0.17 m) in the 71st row held stakes for stays of the final row of holes (Sear 386)

Current Status

The Theatre at Argos remains one of the most impressive ancient theatres in Greece, although less well-known than some other examples such as Epidaurus. The site is accessible to visitors as part of the archaeological zone of ancient Argos. Conservation efforts have focused on preserving the extensive rock-cut cavea and the architectural elements of the stage building.

The theatre is no longer used for regular performances due to conservation concerns, but special events have occasionally been held at the site. The Greek Archaeological Service (Ephorate of Antiquities of Argolida) oversees the preservation and study of the monument. While not currently on the UNESCO World Heritage list, the Theatre at Argos represents a significant component of Greece’s rich archaeological heritage and continues to be studied for its architectural innovations and its role in the cultural life of ancient Argos.

Renovations

1. Initial construction (last third of 4th century BCE):
   • Original construction of the large theatre against the Larissa hill
   • Rock-cut cavea with extensive seating capacity (Sear 386)
2. Hellenistic renovation (2nd century BCE):
   • Addition of a Doric portico to the scene building, enhancing its architectural prominence
   • Refinement of the stage area with column supports (Vollgraff, “Le théâtre d’Argos” 193-203)
3. Early Roman renovation (2nd century CE):
   • Demolition of the Hellenistic scene building
   • Construction of a new Roman-style stage (pulpitum) made of brick
   • Removal of the seventh row of seats to install a deep, covered drain
   • Modification of the orchestra area with the addition of post holes for temporary barriers (Roux 376-395)
4. Late Roman renovation (late 4th century CE):
   • Reconstruction of the front of the scene with six large masonry piers
   • Installation of pairs of Corinthian columns on each pier
   • Creation of three doorways in the scaenae frons
   • Transformation of the orchestra into a kolymbethra (water basin) by adding a marble-veneered wall
   • Addition of geometric mosaics to decorate the edges of the stage (Traversari, “Spettacoli in acqua” 34-36)

Archaeological Excavations

The ruins of two distinct theater sites, situated just 100 meters from each other, have been excavated in Argos. The first recorded date for excavation of a theater here was 1892, when I. Kophiniotis partially unearthed the larger, Hellenistic theater. (Princeton Encyclopedia of Classical Sites). After the initial work by Kophiniotis, seven excavations were conducted at Argos under the aegis of the French School of Archaeology (École Française d’Athènes) by C. Wilhelm Vollgraff:

Five occurred between 1902 and 1913, followed by two more in 1928 and 1932 (École Française d’Athènes).

In 1952, the excavations were continued by G. Daux and P. Courbin, with further work carried out from 1954 to 1956 under the direction of J. Bingen and G. Roux (École Française d’Athènes).

Additional excavations were undertaken in 1981 and 1982 by C. Abadie and J. Des Courtils (École Française d’Athènes).

Between 1986 and 1989, investigations, including tests and cleaning, were conducted by A. Pariente and J.-Ch. Moretti, during which the homogeneous nature of the proskenion foundations was confirmed (École Française d’Athènes).

In 1993, the European Union Commission allocated funding for the Argos theater site as part of the Delors II budgetary package for Greece for the period 1993-1999 (Hellenic Ministry of Culture). According to the Hellenic Ministry of Culture, this funding was designated for the “consolidation and restoration of the Theatre”; however, it remains unclear whether the work accomplished with these funds contributed new historical insights to the site (Hellenic Ministry of Culture).

Bibliography / Resources:

Abadie, C., and J. des Courtils. “Argos et l’Argolide: Topographie et urbanisme.”

Blouet, Abel. Expédition scientifique de Morée. Vol. 2, Paris, 1831-1838, pp. 90-93, plates 58-59.

Bulletin de Correspondance Hellénique, vol. 106, 1982.

École Française d’Athènes. Excavations at Argos: Reports and Findings. École Française d’Athènes, [Year of Publication].

Ginouvès, René. “Théâtron à gradins droits et odéon d’Argos.” American Journal of Archaeology, vol. 79, no. 2, 1975, pp. 161-163.

Gogos, Savas. “Pausanias und das antike Theater von Argos.” Κοινός λόγος: Mélanges offerts à André Hurst, Geneva, 2008, pp. 329-339.

Hellenic Ministry of Culture. Cultural Heritage Projects in Greece: The Argos Theatre Restoration. Hellenic Ministry of Culture, [Year of Publication].

Leake, William Martin. Travels in the Morea. Vol. 2, London, 1830, pp. 397-398.

Pariente, A. “Chronique des fouilles et découvertes archéologiques en Grèce en 1986.” Bulletin de Correspondance Hellénique, vol. 111, 1987, pp. 592-595.

Roux, Georges. “Le théâtre d’Argos.” Bulletin de Correspondance Hellénique, vol. 80, 1956, pp. 376-395.

Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006.

Stillwell, Richard, William L. MacDonald, and Marian Holland McAllister, editors. The Princeton Encyclopedia of Classical Sites. Princeton University Press.

Traversari, Gustavo. “Gli spettacoli in acqua nel teatro tardo-antico.” Spettacoli in acqua, Rome, 1960, pp. 34-36.

Vollgraff, Willem. “Fouilles d’Argos.” Bulletin de Correspondance Hellénique, vol. 31, 1907, p. 146.

Vollgraff, Willem. “Le théâtre d’Argos.” Mnemosyne, vol. 4, no. 4, 1951, pp. 193-203.