Assus, Assos (modern Behramköy, Turkey)

ca. 200 BCE. 

Cavea Width: 71 meters
Orchestra Width: 21 meters

Assus (modern Behramköy, Turkey). Cavea width: 68 m, ima cavea 13 rows in 6 cunei; media 15 rows in 10 cunei; albulacrum at top; horseshoe-shaped orchestra width: 20.54 m; scene building: L 19m X W 7m; stage: L 20.45m X 2.3m; capacity: ca 3000-4000; ca. 200 BCE. 

Assus Theatre (modern Behramköy, Turkey)

Introduction

The ancient theatre of Assus is located in modern-day Behramköy, Turkey, situated on the northwestern coast of Turkey in the ancient region of Troad. The theatre occupies a prominent position within the city walls, specifically south of the agora (public square) (Sear 330). Its GPS coordinates are (39°29’25.4″N 26°20’16.1″E). placing it on the southern slope of the acropolis hill (Serdaroğlu). The theatre benefits from a commanding view of the Aegean Sea to the south, enhancing its natural setting. Notable nearby structures include the bouleuterion (council house) on the east side of the agora (Sear 330) and the Temple of Athena, which stands on the acropolis above (Wescoat).

History

The Assus theatre was constructed around 200 BCE during the Hellenistic period (Sear 330), when the city was under the influence of the Pergamene kingdom. The theatre represents an important cultural institution within this Greek colonial settlement, which was originally founded by settlers from Lesbos in the 7th century BCE (Serdaroğlu). Significant modifications were made to the theatre during the late 1st century BCE, coinciding with the early Augustan period when the region came under Roman influence (Sear 330).

The primary historical sources for Assus are limited, though the city is mentioned by several ancient authors. Strabo, in his Geography (13.1.57-58), describes Assus as a strongly fortified city. The philosopher Aristotle spent three years in Assus (348-345 BCE) at the invitation of the tyrant Hermias, establishing a philosophical school there, though this predates the theatre’s construction (Mitchell). Archaeological evidence, rather than textual sources, provides the majority of our knowledge about the theatre’s development and use (Bacon and Clarke).

Theatre Specifications

Cavea (Seating Area)

• Diameter: 68 meters (Sear)
• Estimated seating capacity: Approximately 5,000 spectators (calculated based on comparable theatres of similar dimensions) (Ferrero)
• Division of seating sections: Three distinct horizontal sections (ima, media, and summa cavea)
  • Ima cavea (lower section): 13 rows of profiled seats divided into 6 cunei (wedge-shaped sections) (Clarke)
  • Media cavea (middle section): 15 rows divided into 10 cunei (wedge-shaped sections) (Clarke)
  • Summa cavea (upper section): Approximately 8 rows divided into 6 cunei (wedge-shaped sections) (Clarke)
• Construction materials: Primarily local limestone blocks, precisely cut for the seating (Bacon and Clarke)
• Support structures: Natural hillside provides primary support; supplemented by vaulted substructures (Dörpfeld)
• Access points: Staircases positioned at the ends of the upper praecinctio (horizontal walkway separating seating sections) lead to an ambulacrum (covered walkway) at the top of the cavea (seating area) (Sear)
• Special features: The cavea (seating area) has rectilinear sides and a curved top, with analemmata (retaining walls) that slightly converge toward the orchestra (performance space) (Dörpfeld)

Substructures (Supporting Framework)

• Built primarily against the natural hillside (Sear)
• Two radial vaulted passageways run beneath the media cavea (middle seating section), providing access to the lower praecinctio (horizontal walkway) (Clarke)
• Two blind vaulted passageways, accessible through openings in the analemmata (retaining walls), extend partially under the praecinctio (horizontal walkway) (Ferrero)
• These enclosed spaces may have served as lavatories (as suggested by Clarke) or as cisterns (water storage chambers) for water collection (as proposed by Ferrero)

Orchestra (Performance Space)

• Diameter: 20.54 meters (Sear)
• Shape: Horseshoe-shaped, typical of Hellenistic-Roman transition theatres (Dörpfeld)
• Features: During the late Hellenistic/early Augustan period, a wall (height 1.37 meters) decorated with shield motifs and herms (sculptural pillars) was constructed against the lowest row of seats (Clarke)
• Water management: An open water channel positioned 1.40 meters in front of the decorative wall (Sear)
• Adaptation evidence: A row of holes between the channel and wall, possibly used to install a temporary fence around the orchestra (performance space) to accommodate gladiatorial games and venationes (animal hunts) during the Roman period (Ferrero)

Parodoi (Side Entrances)

• Design: Doorways positioned between the stage building and analemmata (retaining walls) provided access to the orchestra (performance space) (Sear)
• These entrances represent a transitional design between the traditional open parodoi (side entrances) of Greek theatres and the covered entrances typical of Roman theatre architecture (Dörpfeld)

Proscaenium (Stage Front)

• Height: Approximately 2.95 meters (Sear)
• Design: Featured 12 fluted Doric half-columns (diameter 0.31 meters) attached to pilasters (flat rectangular columns) with piers at the ends (Clarke)
• Access: Evidence of a doorway between the central pair of columns, providing passage between the proscaenium (stage front) and the orchestra (performance space) (Puchstein)

Pulpitum/Stage (Raised Performance Platform)

• Length: 20.54 meters (matching the orchestra diameter) (Sear)
• Width: 2.3 meters (Sear)
• Construction: Details of construction materials not fully documented in excavation reports (Bacon and Clarke)
• Connection to orchestra: Direct access via the central doorway in the proscaenium (stage front) (Puchstein)

Scaenae Frons (Stage Building Façade)

• Scene building length: 19 meters (Sear)
• Width: 7 meters (Sear)
• Design: Divided into three rooms, similar to the arrangement at the theatre of Priene (Puchstein)
• Access: Three doors between its basement and the hyposcaenium (space beneath the stage) (Clarke)
• Performance features: Probably featured three thyromata (doorways in the stage building façade) corresponding to the basement doorways (Dörpfeld)
• Architectural order: While not explicitly documented, likely employed the Doric order consistent with the proscaenium (stage front) (Puchstein)

Decoration

• Materials: Primarily local limestone, with possible marble elements for decorative features (Bacon and Clarke)
• Sculptural elements: Shield motifs and herms adorning the orchestra wall from the late Hellenistic/early Augustan modifications (Clarke)
• The limited documentation of decorative elements likely reflects both the incomplete nature of excavations and the removal of valuable materials over centuries (Serdaroğlu)

Access Points (Entrances and Circulation)

• Primary entrances: Through the parodoi (side entrances) into the orchestra (performance space) (Dörpfeld)
• Vertical circulation: Two radial vaulted passageways providing access to the lower praecinctio (horizontal walkway) (Sear)
• Additional access: Staircases against rectilinear walls at the ends of the upper praecinctio (horizontal walkway) leading to the ambulacrum (covered walkway) at the top of the cavea (seating area) (Clarke)
• Special areas: No explicit evidence of VIP boxes, though the ima cavea (lower seating section) would traditionally have been reserved for dignitaries (Bulle)

Current Status

The Theatre at Assus currently exists in a significantly damaged condition, considerably deteriorated from its state when first documented by Prokesch von Osten in the 1830s (Sear). Natural weathering, seismic activity common to the region, and possible stone robbing for local construction have contributed to its degradation. The site does not currently enjoy UNESCO World Heritage status, though the archaeological site of Assus as a whole merits such protection (Serdaroğlu).

Visitor accessibility is limited, with minimal modern infrastructure to facilitate tourism (Serdaroğlu). While the site of Assus is open to visitors, the theatre lacks comprehensive interpretive materials or conservation measures to protect the remaining structure. No recent performances or cultural events have been documented as taking place in the theatre, unlike better-preserved ancient theatres in Turkey that have been adapted for modern performances.

Conservation efforts have been minimal, reflecting the challenges of managing numerous archaeological sites throughout Turkey with limited resources (Mitchell). The Turkish Ministry of Culture and Tourism maintains administrative oversight of the site, but targeted conservation interventions specifically for the theatre have not been extensively documented in recent years.

Renovations

The Theatre at Assus underwent significant modifications during the late 1st century BCE, coinciding with the early Augustan period and reflecting the transition from Hellenistic to Roman theatrical practices (Sear). These renovations included:

1. Construction of a decorative wall (height 1.37 meters) against the lowest row of seats, adorned with shield motifs and herms (Clarke)
2. Installation of an open water channel 1.40 meters in front of this wall (Sear)
3. Addition of a series of holes between the channel and wall, likely to accommodate a temporary fence or barrier (Ferrero)
4. These modifications appear designed to adapt the orchestra for Roman-style performances, potentially including gladiatorial contests and venationes (animal hunts) (Ferrero)

The benefactors of these renovations are not identified in the existing archaeological record, though they may have been local elites seeking to demonstrate their adoption of Roman cultural practices or possibly officials appointed by the Roman administration (Mitchell). The renovations reflect the broader pattern of architectural adaptation seen throughout Asia Minor during this period, as Greek theatres were modified to accommodate changing entertainment preferences under Roman influence (Bulle).

No evidence of later significant renovations has been documented, suggesting the theatre may have fallen into disuse earlier than many comparable structures in the region, potentially correlating with the general decline of Assus as a regional center (Serdaroğlu).

Archaeological Excavations

The Theatre at Assus has been the subject of multiple archaeological investigations since the 19th century. The earliest documented examination was conducted by Anton Prokesch von Osten, whose observations from the 1830s were published in his work “Erinnerungen aus Aegypten” (Prokesch von Osten). His account indicates the theatre was in significantly better condition at that time compared to subsequent examinations.

The most substantial early excavation was conducted by the Archaeological Institute of America expedition under the direction of Francis H. Bacon and Joseph T. Clarke between 1881-1883 (Bacon and Clarke). This American expedition produced the first systematic documentation of the theatre, published in Clarke’s “Assos” (Clarke). Their work established the basic dimensions and architectural features of the structure, though their excavation methods reflected the less rigorous standards of 19th-century archaeology.

Wilhelm Dörpfeld, a pioneer of modern archaeological methods, included the Assus theatre in his comparative study “Das griechische Theater” (Dörpfeld). Dörpfeld provided valuable analysis of its architectural features in relation to other ancient theatres. Otto Puchstein further examined the stage building in his work “Die griechische Bühne” (Puchstein), adding to the understanding of this critical component of the theatre.

In the early 20th century, Heinrich Bulle included the theatre in his “Untersuchungen an griechischen Theatern” (Bulle), while Dario De Bernardi Ferrero conducted a more detailed architectural study as part of his comprehensive work “Teatri classici in Asia Minore” (Ferrero).

Bibliography / Resources:

Bacon, Francis H., and Joseph T. Clarke. Investigations at Assos: Drawings and Photographs of the Buildings and Objects Discovered during the Excavations of 1881-1882-1883. Archaeological Institute of America, 1902.

Bulle, Heinrich. Untersuchungen an griechischen Theatern. Beck, 1928.

Clarke, Joseph T. Assos: Report on the Investigations During the Years 1881-1882-1883. Archaeological Institute of America, 1898.

Dörpfeld, Wilhelm, and Emil Reisch. Das griechische Theater: Beiträge zur Geschichte des Dionysos-Theaters in Athen und anderer griechischer Theater. Barth & von Hirst, 1896.

Ferrero, Dario De Bernardi. Teatri classici in Asia Minore. L’Erma di Bretschneider, 1966-1974.

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

Prokesch von Osten, Anton. Erinnerungen aus Aegypten und Kleinasien. Hallberger, 1831.

Puchstein, Otto. Die griechische Bühne: eine architektonische Untersuchung. Weidmann, 1901.

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

Serdaroğlu, Ümit. Assos (Behramkale). Archaeological Guides of Turkey, 1995.

Prokesch von Osten, Anton. Denkwürdigkeiten und Erinnerungen aus dem Orient. Stuttgart: Hallberger, 1836-1837.

Puchstein, Otto. Die Griechische Bühne. Berlin: Weidmann, 1901.

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

Serdaroğlu, Ümit. Assos (Behramkale). Istanbul: Arkeoloji ve Sanat Yayınları, 1995.

“The Assos Excavations.” Archaeology: A publication of the Archaeological Institute of America, Dec 2006-Jul 2008. https://archive.archaeology.org/assos/. Accessed 6/7/2022.

Wescoat, Bonna D. The Temple of Athena at Assos. Oxford: Oxford University Press, 2012.