Aspendus Theatre (modern Belkiz, Turkey).

ca. 161-169 CE (FS)

Cavea Width: 95 meters
Orchestra Width: 24 meters

Aspendus (modern Belkiz, Turkey):  95.48 meters wide cavea; 41 total rows divided into lower (21 rows in 9 cunei) and upper (20 rows in 20 cunei) sections by a praecinctio; east-south-east-facing cavea; 6,100-7,650 seating capacity; 23.87-meter orchestra diameter; constructed 161-169 CE under Emperor Marcus Aurelius; excellently preserved throughout, except for columnatio. (Source: Sear, Roman Theatres: An Architectural Study, 2006)

Aspendos Theatre (near modern Belkiz) Turkey
Aspendos Panoramas

Introduction

The ancient theatre of Aspendus is situated approximately 7 kilometers northeast of modern Belkiz (formerly Serik) in the Antalya Province of southern Turkey. The precise geographical coordinates of the theatre are 36.9389, 31.17221. The structure is positioned on the southern slope of the acropolis hill of ancient Aspendus, a prominent Pamphylian city. The theatre stands as the most intact component of the ancient urban complex, which also includes remnants of a basilica, agora, nymphaeum, and an aqueduct system that supplied water to the city (Lanckoroński 43-45). The theatre’s elevated position affords panoramic views of the Pamphylian plain and the Eurymedon River (modern Köprüçay), which flows approximately 1 kilometer to the east.

History

The Aspendus Theatre was constructed during the reign of Emperor Marcus Aurelius (161-180 CE), with inscriptions indicating specific completion dates between 161-169 CE (De Bernardi Ferrero 112). According to the dedicatory inscription still visible on the stage building, the theatre was commissioned and financed by two wealthy brothers, Curtius Crispinus and Curtius Auspicatus, who donated it to the city (Mitchell 86).

Prior to Roman influence, Aspendus was a significant Hellenistic city that had been founded by Greek colonists from Argos, though archaeological evidence suggests earlier settlement dating to at least the 5th century BCE (Bean 65). The city was particularly prosperous due to its position controlling trade along the Eurymedon River and was known for salt production and horse breeding (Freely 92-93).

The theatre witnessed the changing fortunes of Aspendus through the Byzantine period, when the city became a bishopric. During the 13th century, the theatre was converted into a palace by the Seljuk Turks under Sultan Alaeddin Keykubad I, who added defensive features and decorative elements to the structure (Akurgal 323). This adaptation likely contributed to the theatre’s remarkable preservation, as it remained in continuous use rather than being abandoned or dismantled for building materials.

Primary historical sources mentioning Aspendus include Strabo’s Geography and Arrian’s account of Alexander the Great’s campaign in the region in 333 BCE, when the city surrendered to Alexander and agreed to pay tribute (Brunt 128-129).

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°56’20.8″N 31°10’10.4″E
• Orientation: The theatre faces east-south-east, with the cavea exceeding a semicircle and the analemmata (retaining walls) not converging (Sear 366)
• Position: Located on the southern slope of the acropolis hill, integrated into the ancient city’s urban plan but situated near its periphery
• Topographical details: The cavea is partially built into the natural hillside (approximately 50% of its support), with the remainder supported by vaulted substructures (Sear 367)

Cavea:

• Diameter: 95.5 meters (Dodge 223)
• Estimated seating capacity: Approximately 6,100-7,650 spectators (Sear 366)
• Division of seating sections: The cavea is divided into two horizontal sections (maeniana) by a praecinctio (horizontal walkway), with the lower section (ima cavea) containing 21 rows of seats in 9 cunei (wedge-shaped sections), and the upper section (summa cavea) containing 20 rows in 20 cunei (Sear 366)
• Construction materials and techniques: Local limestone blocks for the seating and structural elements, with concrete and rubble used in the vaulted substructures (Dodge 224)
• Support structures and access points: The southern half of the cavea is supported by a series of 21 radial vaults that also serve as access corridors to the various levels of seating. Two main vaulted entrances (aditus maximi) provide access to the orchestra level from the east and west sides (De Bernardi Ferrero 114-115)

Orchestra:

• Diameter and shape: Semi-circular with a diameter of 24 meters (Sear 369)
• Paving materials: Originally paved with white and colored marble in a geometric pattern, though much of this has been lost or replaced in subsequent renovations (Dodge 224)
• Special features: No water features are present, but there is evidence of an altar space (thymele) at the center of the orchestra (De Bernardi Ferrero 115)
• Changes over time: The orchestra level was modified during Byzantine and Seljuk periods to accommodate different uses, including possible water displays during the Byzantine era and courtyard functions under Seljuk occupation (Akurgal 324)

Pulpitum/Stage:

• Dimensions: Length: 46.68 meters; Width: 7 meters; Height: 1.39 meters from orchestra level (Sear 366)
• Construction details: Limestone blocks with a decorated front (pulpitum front) featuring alternating curved and rectangular niches
• Stage machinery elements: Evidence of wood beam sockets and channels for the curtain mechanism (aulaeum) below the stage level (Dodge 225)
• Access points: Three sets of steps connect the orchestra to the stage, with additional access from beneath the stage via the hyposcaenium (De Bernardi Ferrero 116)

Scaenae Frons:

• Height and architectural order: Two-tiered rectilinear façade with a columnatio of 20 columns on 10 podia; the lower order was probably Ionic while the upper was Corinthian. The upper pairs of columns supported alternating triangular and segmental pediments, except for the two middle pairs which supported a broken pediment (Sear 366)
• Number of stories and doorways: Two stories with five doorways decreasing in height toward the sides. The postscaenium wall (preserved to full height) has corresponding doorways on the lowest level, with small rectangular windows above (Sear 367)
• Decorative elements: Elaborately carved entablatures, pediments, and columns, with niches that originally housed statues (De Bernardi Ferrero 117-118)
• Architectural innovations: The façade incorporates a projecting central section (proskenion) and the entablature breaks forward over the columns, demonstrating sophisticated architectural design typical of the Antonine period (Dodge 226)

Decoration:

• Materials used: Imported marble for columns and decorative elements, local limestone for structural components, with evidence of bronze attachments for ornamental features (Rossetto and Sartorio 149)
• Sculptural programs: Niches housed statues of deities and imperial family members, though most are now lost. Fragments indicate high-quality sculptural work in Docimian and Proconnesian marble (De Bernardi Ferrero 118)
• Inscriptions: The main dedicatory inscription remains in situ on the stage building, recording the donation by the Curtius brothers. Additional inscriptions mark seating reservations for civic groups and dignitaries (Mitchell 87)
• Painted elements: Traces of red, blue, and gold paint have been detected on architectural elements, suggesting a vibrant original appearance (Dodge 226)

Access Points:

• Entrances and exits: Two main entrances through the aditus maximi on the east and west, with additional access via vaulted passages beneath the cavea
• Vomitoria: Eight vomitoria provide access to the upper cavea, arranged symmetrically and connecting to an external gallery (Sear 372)
• Stairways and circulation patterns: Radial stairways divide the cavea into 9 wedge-shaped sections (cunei) in the lower section and 20 in the upper section. A covered porticus (W 5m) with columns and continuous arcade runs around the top of the cavea, likely supporting a wooden roof (Sear 366)
• Special areas: Evidence of a tribunal (box seating) adjacent to the east aditus maximus, likely reserved for city officials or the emperor’s representative (Rossetto and Sartorio 150)

Current Status

The Aspendus Theatre represents one of the best-preserved ancient Roman theatres in the world, largely due to its continuous use and adaptation throughout history.

• Preservation condition: The structure is remarkably intact, with approximately 80% of the original Roman fabric preserved. The seating area, stage building, and scaenae frons remain largely complete, though some upper elements have been lost. The excellent state of preservation is attributed to the quality of original construction, the dry climate, and continued use rather than abandonment (Freely 95)
• Visitor accessibility: The theatre is open to visitors year-round as part of the Aspendus Archaeological Site. Modern walkways and information panels have been installed to facilitate tourism while protecting the ancient structure. Limited accessibility accommodations are available for visitors with mobility challenges (Republic of Turkey Ministry of Culture and Tourism website)
• Current usage: Since 1994, the theatre has hosted the annual Aspendos International Opera and Ballet Festival, continuing its function as a performance venue with exceptional acoustics. The venue can accommodate approximately 4,500-5,000 spectators for modern performances, with temporary seating installed to protect the ancient stone seats (Republic of Turkey Ministry of Culture and Tourism website)
• Conservation efforts: Ongoing conservation work focuses on non-invasive stabilization, monitoring environmental factors affecting the structure, and controlling visitor impact. A comprehensive site management plan was implemented in 2010 to balance preservation needs with tourism and performance use (Çevik 159-160)
• UNESCO status: The Aspendus Theatre was included on Turkey’s tentative list for UNESCO World Heritage status in 2012 as part of the “Archaeological Site of Aspendos,” though it has not yet received full World Heritage designation (UNESCO World Heritage Centre website)

Renovations

The Aspendus Theatre has undergone several significant renovation phases throughout its history:

• Original Construction (161-169 CE): Completed under Marcus Aurelius with funding from the Curtius brothers (Mitchell 87)
• Late Roman Modifications (3rd-4th centuries CE): Archaeological evidence indicates repairs to the seating areas and modifications to the stage machinery. An inscription attributes some renovations to the governor Flavius Aelius Neverianus in the early 4th century (Sear 373)
• Byzantine Adaptations (5th-12th centuries CE): The theatre was modified for different performance types, including possible use for water spectacles. Structural reinforcements were added to support the scaenae wall, and Christian symbols were incorporated into some decorative elements (Akurgal 325)
• Seljuk Conversion (13th century CE): The most substantial renovation occurred under Sultan Alaeddin Keykubad I (r. 1220-1237), who converted the theatre into a palace. The Seljuks added defensive battlements to the upper sections, modified the stage building for residential use, and added decorative elements including distinctive red brick patterns and Islamic calligraphy (Freely 94). The stage building façade was also reinforced with buttresses during this period.
• Modern Conservation (20th-21st centuries): Major conservation efforts began in the 1930s under Turkish authorities, with significant work conducted in the 1970s to stabilize the structure. More recent interventions have focused on non-invasive preservation techniques (Çevik 157-159)

Archaeological Excavations

Systematic archaeological investigation of the Aspendus Theatre began relatively late compared to other ancient sites in Turkey:

• Initial Documentation (1885-1886): Karl Lanckoroński conducted the first detailed survey and documentation of the theatre, producing measured drawings and photographs that remain valuable references (Lanckoroński 46-52)
• Early Excavations (1930-1931): Initial archaeological clearing work was directed by Italian archaeologist Giulio Jacopi, focusing primarily on removing accumulated debris and identifying structural features (Bean 67)
• Major Excavation Campaign (1956-1966): Led by Turkish archaeologist Arif Müfid Mansel, this campaign uncovered significant portions of the stage building foundation and clarified the construction chronology. Mansel’s team employed stratigraphic methods and documented architectural fragments in situ (Çevik 155)
• Conservation-Focused Investigations (1972-1980): Directed by Jale İnan, these excavations concentrated on understanding the structural systems to inform conservation efforts. Significant discoveries included evidence of the original stage machinery and color traces on architectural elements (Dodge 227)
• Recent Archaeological Work (2000-present): Under the direction of Nevzat Çevik, recent excavations have employed modern techniques including ground-penetrating radar and 3D documentation to map substructures and establish a complete site plan integrating the theatre with the surrounding urban context (Çevik 158)

Findings from these excavations have been published primarily in the Anatolian Studies journal and through the Turkish Ministry of Culture and Tourism’s monograph series.

Bibliography / Resources:

Akurgal, Ekrem. Ancient Civilizations and Ruins of Turkey. Kegan Paul, 2001.

Bean, George E. Turkey’s Southern Shore. Ernest Benn Limited, 1979.

Brunt, P.A. (translator). Arrian: Anabasis of Alexander. Harvard University Press, 1976.

Çevik, Nevzat. “New Approaches in Archaeological Research and Management at Aspendos.” Adalya, vol. 19, 2016, pp. 151-168.

De Bernardi Ferrero, Daria. Teatri classici in Asia Minore. L’Erma di Bretschneider, 1990.

Dodge, Hazel. “Amphitheatres in the Roman East.” Roman Amphitheatres and Spectacula: A 21st-Century Perspective, edited by Tony Wilmott, Archaeopress, 2009, pp. 219-230.

Freely, John. The Western Shores of Turkey: Discovering the Aegean and Mediterranean Coasts. I.B. Tauris, 2004.

Lanckoroński, Karl. Städte Pamphyliens und Pisidiens. F. Tempsky, 1890.

Mitchell, Stephen. Anatolia: Land, Men, and Gods in Asia Minor. Oxford University Press, 1993.

Republic of Turkey Ministry of Culture and Tourism. “Aspendos Archaeological Site.” Official Tourism Portal, 2024, www.goturkiye.com.

Rossetto, Paola Ciancio, and Giuseppina Pisani Sartorio. Teatri greci e romani: Alle origini del linguaggio rappresentato. Seat, 1994.

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

UNESCO World Heritage Centre. “Archaeological Site of Aspendos.” Tentative Lists, 2012, whc.unesco.org.