Arycanda or Arykanda (near modern Aykiriçay, Turkey)

50 BCE; scene building altered in Imperial period

Cavea Width: 51 meters
Orchestra Width: 17 meters

Arycanda Roman Theatre (modern Arif, Turkey). South facing cavea width: 56 m, orchestra width: 17.18 m; scene building 27.29 X 7.5 m; trapezoidal stage; capacity: 2,500/3,000; c. 50 century BCE.; Roman alterations in Imperial Period. (Sear 386.)

ArycandaArycanda Theatre, near modern Aykiriçay, Turkey

Introduction

The ancient theatre of Arycanda is situated in the archaeological site of Arycanda (also spelled Arykanda), located approximately 30 kilometers inland from the Mediterranean coast in southwestern Turkey. The site lies near the modern village of Aykiriçay (formerly Arif) in the Finike district of Antalya Province. Positioned at coordinates 36.51444, 30.05988, the theatre occupies a dramatic setting on the eastern slopes of the Arycanda valley, built into the natural contour of the mountainside at an elevation of approximately 950 meters above sea level.

History

The theatre at Arycanda was constructed c. 50 BCE (Sear 365), though the settlement itself has much earlier origins. Archaeological evidence suggests the site was occupied as early as the 5th century BCE, with the city reaching its peak of prosperity during the 2nd century CE under Roman rule (Bean 123). The name “Arycanda” is of Lycian origin, with “anda” meaning “place,” though the meaning of “Aryc” remains uncertain (Bryce 76).

While historical texts make limited specific references to the theatre itself, epigraphic evidence from the site indicates that dramatic and musical performances were regular features of civic life, especially in connection with religious festivals honoring Apollo, who appears to have been particularly venerated at Arycanda (Keen 184). The theatre likely hosted not only dramatic performances but also civic gatherings, political assemblies, and possibly gladiatorial contests in its later phases, reflecting the evolving function of theatres in Roman provincial cities (Dodge 228).

The city of Arycanda was a member of the Lycian League, an early federation of city-states that maintained considerable autonomy even under Roman rule. This political context likely influenced the theatre’s function as a venue for both entertainment and civic administration. Following the general pattern of decline in the region, the theatre probably fell out of regular use by the 7th century CE, though the settlement continued to be inhabited into the Byzantine period (Harrison 156).

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: 36°31’15.6″N 30°03’46.8″E
• Orientation: The theatre faces south-southwest, providing spectators with views across the valley
• Position: Located on the middle terrace of the city’s eastern slope, positioned between the baths and the stadium
• Topographical details: Built into the natural hillside, utilizing the slope for supporting approximately two-thirds of the cavea, with the southern section supported by vaulted substructures (Sear 357)

Cavea:

• Diameter: Approximately 56 meters across its widest point
• Estimated seating capacity: Between 2,500-3,000 spectators (Bayburtluoğlu 42)
• Division of seating sections: The cavea is divided into three horizontal sections (ima, media, and summa cavea) by two praecinctiones (horizontal walkways), with seven cunei (wedge-shaped sections) separated by scalaria (radial stairways)
• Construction materials and techniques: Local limestone blocks for the seating (some with preserved seat inscriptions), with concrete and rubble infill for the substructures
• Support structures and access points: The northern and central sections rest directly on the hillside, while the southern section is supported by vaulted substructures that compensate for the irregular terrain (İşkan-Işık 175)

Orchestra:

• Diameter and shape: Semicircular orchestra approximately 18.5 meters in diameter
• Paving materials: Limestone pavers, some sections showing evidence of marble revetment in later phases
• Special features: A drainage channel runs around the perimeter of the orchestra, with evidence of a small altar space near the central axis
• Changes over time: Archaeological evidence suggests the orchestra was modified during the 3rd century CE, possibly to accommodate water spectacles or gladiatorial contests, as indicated by the reinforcement of the balteus (parapet wall) separating the orchestra from the ima cavea (Smith 93)

Pulpitum/Stage:

• Dimensions: Approximately 30 meters in length, 6 meters in width, and 1.4 meters in height
• Construction details: Built of ashlar masonry with a wooden superstructure (now lost)
• Stage machinery elements: Five regularly spaced rectangular recesses in the stage front likely accommodated a stage curtain mechanism (aulaeum)
• Access points: Two symmetrically positioned parodoi (side entrances) connect the stage to the orchestra, with evidence of small chambers beneath the stage that likely served as dressing rooms or storage spaces (Bayburtluoğlu 45)

Scaenae Frons:

• Height and architectural order: Estimated original height of approximately 12-15 meters, featuring a two-story Corinthian order
• Number of stories and doorways: Two stories with three doorways: a central valva regia (royal door) and two flanking valvae hospitales (guest doors)
• Decorative elements: Niches for statuary between columns, with fragments of marble revetment and sculptural elements recovered during excavation suggesting an elaborate decorative program
• Architectural innovations: The scaenae frons incorporated a slightly projecting central section (pulpitum) that created a more dynamic relationship between the stage building and the orchestra (Sear 358)

Decoration:

• Materials used: Extensive use of marble for revetment, with evidence of limestone reliefs and freestanding sculptures
• Sculptural programs: Fragmentary evidence suggests a program featuring mythological figures and imperial portraits, including a partial statue of Apollo recovered near the stage building (İşkan-Işık 178)
• Inscriptions: Several seat inscriptions have been preserved, indicating reserved seating for civic officials and prominent families
• Painted elements: Traces of red and blue pigment on architectural elements suggest the interior was brightly painted, though little of this decoration survives (Smith 96)

Access Points:

• Entrances and exits: Two main parodoi (side entrances) at orchestra level, with additional access points at the upper levels of the cavea
• Vomitoria: Two preserved vomitoria (covered passageways) provided access to the media cavea
• Stairways and circulation patterns: Seven scalaria (radial stairways) divide the cavea into cunei, with two praecinctiones (horizontal walkways) facilitating horizontal circulation
• Special areas: Evidence of a proedria (front row of seats with backs) reserved for dignitaries, and possibly a tribunal (box seat) at the western end of the cavea (Bayburtluoğlu 47)

Current Status

The theatre at Arycanda is in a moderate state of preservation, with the cavea largely intact but significant damage to the stage building. The site is accessible to visitors as part of the larger Arycanda archaeological zone, which is open to the public and administered by the Turkish Ministry of Culture and Tourism.

The remote location of Arycanda has protected it from some of the intensive tourism development that has affected other ancient sites in coastal Turkey, resulting in both advantages and challenges for conservation. While the theatre has not suffered from excessive visitor traffic, it has also received less attention for conservation and restoration than more prominent sites (Çevik 215).

Current conservation efforts focus primarily on stabilization rather than reconstruction, with recent work addressing drainage issues that threatened the integrity of the cavea’s substructures. The theatre is not currently used for modern performances, though occasional cultural events have been held at the site in recent years.

Arycanda, including its theatre, is on Turkey’s tentative list for UNESCO World Heritage status as part of a serial nomination of Lycian sites, though it has not yet received formal designation (UNESCO 2009).

Renovations

Archaeological evidence indicates the theatre underwent several phases of renovation throughout its use:

• Initial Construction Phase: The original theatre was built in c. 50 BCE; scene building altered in Imperial period (Sear 365)
• First Renovation (late 2nd-early 3rd century CE): Modifications to the stage building and orchestra, potentially coinciding with changing performance requirements. This phase is tentatively associated with the benefaction of a local notable named Opramoas, known from inscriptions to have funded numerous public works in Lycian cities, though direct evidence linking him to the Arycanda theatre remains circumstantial (Kokkinia 158).
• Second Renovation (3rd century CE): Substantial modifications to the orchestra and lower cavea, possibly to accommodate water spectacles or gladiatorial performances, reflecting the changing entertainment preferences in provincial cities during the later imperial period. These changes included reinforcement of the balteus and modifications to the drainage system (İşkan-Işık 180).
• Final Modifications (4th century CE): Limited repairs and maintenance work, reflecting the declining economic circumstances of the period. This phase is characterized by expedient repairs using spolia (reused architectural elements) from other structures (Smith 98).

Archaeological Excavations

The first systematic exploration of Arycanda was undertaken by Charles Fellows in 1840, though his work focused primarily on documenting visible remains rather than excavation. Modern archaeological investigation of the site began in 1971 under the direction of Cevdet Bayburtluoğlu of Ankara University, with excavations continuing intermittently until 2006 (Bayburtluoğlu 5).

Major work on the theatre occurred during the 1980s and early 1990s, revealing the full extent of the cavea and orchestra, as well as clarifying the chronology of the stage building. These excavations employed a combination of traditional stratigraphic methods and architectural analysis, with particular attention paid to construction techniques and material usage (İşkan-Işık 172).

Key discoveries from these excavations included:

• A cache of sculptural fragments near the stage building, including portions of imperial portraits and mythological figures
• Inscribed seat blocks providing evidence of the city’s social hierarchy
• Architectural elements preserving traces of original polychromy
• Numismatic evidence helping to establish the chronology of the theatre’s construction and renovation phases

Findings from these excavations have been published primarily in Turkish archaeological journals, notably in the annual Kazı Sonuçları Toplantısı reports, with additional analysis appearing in Bayburtluoğlu’s monograph on Arycanda and in Havva İşkan-Işık’s more recent studies of Lycian theatres (Smith 90).

Bibliography / Resources:

Bean, George E. Lycian Turkey: An Archaeological Guide. John Murray Publishers, 1989.

Bayburtluoğlu, Cevdet. Arykanda. Homer Kitabevi, 2003.

Bryce, Trevor. The Lycians in Literary and Epigraphic Sources. Museum Tusculanum Press, 1986.

Çevik, Nevzat. “The Conservation Issues of Archaeological Sites in Lycia: An Overview.” Journal of Cultural Heritage Conservation, vol. 12, 2010, pp. 210-228.

Dodge, Hazel. Spectacle in the Roman World. Bristol Classical Press, 2011.

Harrison, Martin. Mountain and Plain: From the Lycian Coast to the Phrygian Plateau in the Late Roman and Early Byzantine Period. University of Michigan Press, 2001.

İşkan-Işık, Havva. “Theatres in Lycia: Architectural Development and Cultural Integration.” Anatolian Studies, vol. 54, 2004, pp. 169-188.

Keen, Antony G. Dynastic Lycia: A Political History of the Lycians and Their Relations with Foreign Powers. Brill, 1998.

Kokkinia, Christina. The Role of Benefactors in Roman Provincial Cities: The Case of Opramoas of Rhodiapolis. Routledge, 2006.

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

Smith, R.R.R. “Theatres and Sculptural Display in Roman Lycia.” Monumentality in Etruscan and Early Roman Architecture: Ideology and Innovation, edited by Michael Thomas and Gretchen Meyers, University of Texas Press, 2012, pp. 87-105.

UNESCO. “Archaeological Site of Arykanda.” UNESCO World Heritage Centre Tentative Lists, 2009.