Augustodunum (modern Autun, France)

Late 1st century CE. Vespasian (69 to 79 CE).

Cavea Width: 148 meters
Orchestra Width: 50 meters

Summary: The Theatre at Augustodunum (Autun, France); Located at Les Caves Joyaux in the east end of town; 148 meters in diameter; 41 rows of seats divided into ima cavea (14 rows), media cavea (17 rows), and summa cavea (10 rows); faces east-northeast; capacity of 11,100-13,800 spectators; orchestra diameter of 50 meters; constructed in the later first century CE (Vespasianic period); substantial remains of ima and media cavea, partial orchestra, and minimal scene building survive. Source: Frank Sear, Roman Theatres: An Architectural Study, Oxford University Press, 2006.

Augustodunum Theatre (modern Autun, France)

Augustodunum Theatre

Introduction

The ancient theatre of Augustodunum (modern Autun, France) represents one of Gaul’s most substantial Roman theatrical structures (Sear). Located at the eastern extremity of the ancient settlement in an area known as Les Caves Joyaux, this monumental structure formed part of an impressive entertainment complex alongside an enormous amphitheatrum (amphitheatre) (Rebourg). The theatre is situated at GPS coordinates 46°56’37.7″N 4°18’09.0″E, positioned on the city’s eastern slope with excellent viewshed advantages. This strategic placement within the Roman city plan reflects the structure’s importance within the urban design of Augustodunum, which served as the new capital of the Aedui tribe established under Roman administration. The theatre’s proximity to other significant structures, including the templum (temple) of Janus and a Neolithic camp in the vicinity of Le Haut Verger, demonstrates its integration within a broader sacred and civic landscape.

History

Construction of the Augustodunum theatre dates to the later first century CE, as evidenced by a bronze coin of Emperor Vespasian (ruled 69-79 CE) discovered embedded within the masonry during archaeological investigations (Sear 226). This dating places the theatre’s construction during a period of intensive Roman architectural development throughout Gaul, following the relative stability established after the Julio-Claudian dynasty.

The Aedui, longtime allies of Rome since before Caesar’s Gallic campaigns, received particular favor in the establishment of their new capital at Augustodunum. The name itself—combining “Augustus” with “dunum” (Celtic for “fortress”)—demonstrates the deliberate cultural synthesis that characterized early imperial policy in the region. The theatre, with its enormous capacity, served not merely as an entertainment venue but as a powerful symbol of romanitas (Roman cultural identity) and imperial benefaction.

While specific historical events associated directly with the theatre remain scarce in primary textual sources, the structure would have hosted a variety of performances typical of Roman provincial theatres, including ludi scaenici (theatrical performances), pantomimi (pantomimes), recitationes (recitations), and potentially contiones (political assemblies). Tacitus mentions Augustodunum in his Annals (3.43-46) during the revolt of Sacrovir in 21 CE, though this predates the theatre’s construction. The city retained importance through the Roman period, eventually becoming an important educational center during the later empire, suggesting continued usage of its monumental structures.

The theatre exhibits evidence of fourth-century CE renovations, particularly modifications to the orchestra area, indicating ongoing investment and usage well into the late antique period when many Roman theatrical structures elsewhere had fallen into disuse.

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: 46°56’37.7″N 4°18’09.0″E
• Orientation: The cavea (seating area) faces east-northeast (Sear)
• Position: Situated at the eastern end of the Roman town in an area known as Les Caves Joyaux (Rebourg)
• Topographical details: The ima and media cavea (lower and middle seating sections) rest directly on the natural slope of the terrain, while the summa cavea (upper seating) required substantial substructures (Sear)

Cavea (Seating Area):

• Diameter: 148 meters, marking it among the largest theatrical structures in Roman Gaul (Sear)
• Estimated seating capacity: Between 11,100-13,800 spectators according to Sear’s calculations (Sear)
• Division of seating sections:
  • Ima cavea (lowest seating section): 14 rows arranged in 8 cunei (wedge-shaped sections) (Sear)
  • Media cavea (middle seating section): 17 rows arranged in 8 cunei (wedge-shaped sections) (Sear)
  • Summa cavea (highest seating section): 10 rows, likely arranged in 8 cunei (wedge-shaped sections, though this is less certain) (Sear)
• Construction materials: Local limestone for the primary structural elements, with marmor (marble) likely reserved for decorative elements (Rebourg)
• Support structures: The summa cavea (highest seating section) rests on an elaborate system of 49 radial fornices (vaults) connected to a thick curved wall running under the praecinctio (walkway) separating the media and summa cavea (Sear)

Orchestra (Performance Space):

• Diameter: 50 meters total diameter, with an inner diameter of 40 meters (Sear)
• Shape: Semi-circular, following standard western Roman theatre design (Sear)
• Paving materials: Lapides (stone slabs), though specific material type is not definitively documented (Olivier)
• Special features: Surrounded by three gradus (steps) (Sear)
• Changes over time: In the fourth century CE, the lowest seats of the ima cavea (lowest seating section) were cut back 1.5 meters, creating a new arrangement where seating stopped 2.10 meters above the orchestra level; additionally, a fornix (vaulted gallery) and podium (raised platform) were constructed around the rim of the orchestra during this renovation phase (Kasprzyk)

Pulpitum (Stage):

• Dimensions: Not fully documented due to poor preservation (Olivier)
• Construction details: Limited archaeological evidence survives (Rebourg)
• Stage machinery elements: The aulaeum (stage curtain) mechanism is partially preserved, with a depth of 2.20 meters and width of 0.50 meters, featuring fori (mast holes) arranged in two parallel rows (Sear)
• Access points: Insufficient archaeological evidence to determine with certainty (Rebourg)

Scaenae Frons (Decorated Stage House Front):

• Limited archaeological evidence survives of the scaenae frons (decorated stage house front) (Olivier)
• The overall design likely followed the standard western Roman theatrical model prevalent in Gaul (Sear)

Decoration:

• Archaeological evidence for the decorative program remains limited
• Based on comparable theatres in Roman Gaul, decorative elements likely included crustae (marble revetments), signa (statuary) in exedrae (niches) of the scaenae frons (decorated backdrop), and possibly tectoria (painted stucco elements)

Access Points (Entry and Circulation):

• The circulation system was exceptionally sophisticated:
  • Aditus maximi (main entrances): Featured massively thick west walls to support the edges of the cavea (seating area), each containing six semicircular exedrae (niches) functioning as buttresses
  • Vomitoria (entrance/exit passages): A vaulted ambulacrum (covered walkway) surrounded the radial fornices (vaults), controlling access to the summa and media cavea (upper and middle seating sections)
  • Scalae (stairways): Of the 49 radial fornices (vaults) running from the ambulacrum (covered walkway), nine contained itinera (passages) under the summa cavea (upper seating) leading to the praecinctio (walkway) dividing the summa from media cavea
  • The remaining 40 fornices (vaults) were arranged in sets of five, separated by nine itinera (passages); in each set of five fornices (vaults), the outer pair contained scalae (staircases) leading to the summa cavea (upper seating)
  • Eight central fornices (vaults) each contained a scala (staircase) running under both the summa and media cavea (upper and middle seating), leading to the praecinctio (walkway) between the ima and media cavea (lower and middle seating)

Current Status

The Augustodunum theatre survives in a partially preserved state (Bromwich). Substantial remains of the ima and media cavea persist, along with parts of the orchestra and fragmentary elements of the scene building (Sear). The site has undergone restoration work aimed at preserving the existing structural elements and enhancing visitor understanding of the original configuration (INRAP).

Today, the theatre represents an important archaeological heritage site in the Burgundy region of France (Bromwich). While not hosting regular performances in the manner of better-preserved Roman theatres like those at Orange or Arles, the site serves primarily as an educational and tourism resource, illustrating the scale and sophistication of Roman provincial architecture in Gaul (Bedon).

Conservation efforts have focused on stabilizing existing masonry and preventing further deterioration of the exposed archaeological remains (INRAP). The theatre forms part of a broader archaeological zone of ancient Augustodunum, which includes other significant Roman structures such as the Temple of Janus and city gates (Rebourg).

Renovations

The most significant documented renovation of the Augustodunum theatre occurred in the fourth century CE, a period when many Roman theatrical structures throughout the empire were being abandoned or repurposed (Kasprzyk). The primary modifications included:

1. Cutting back the lowest rows of the ima cavea (lowest seating section) by approximately 1.5 meters
2. Creating a new arrangement where seating terminated 2.10 meters above the orchestra level
3. Construction of a fornix (vaulted gallery) surrounding the orchestra (performance space)
4. Addition of a podium (raised platform) around the orchestra’s rim

These modifications likely reflect changing performance needs in late antiquity, possibly accommodating different types of spectacula (spectacles) more suited to late Roman tastes. The substantial investment in these renovations suggests the continued importance of Augustodunum as a regional center during the fourth century, a period when the city had developed significance as an educational center.

The earlier aulaeum (stage curtain) mechanism shows similarities to those found at Lugdunum (Lyon) and Vienna (Vienne), which Ducaroy has identified as characteristic of second-century CE arrangements (Ducaroy). This suggests potential earlier renovations or refinements to the stage machinery during the second century, though whether this represented a substantial renovation phase or routine maintenance and enhancement remains unclear from the available archaeological evidence (Olivier).

Archaeological Excavations

1850s-1870s: Jean-Gabriel Bulliot conducted the first scientific documentation of the Augustodunum theatre within his broader study of Roman Autun. As secretary of the Société Éduenne, he identified the theatre’s location, produced preliminary measurements, and contextualized it within the Roman city grid. His findings, published in “Essai sur le système défensif des Romains dans le pays éduen” (1856), established the foundation for future archaeological inquiry at the site.

1920s: Archaeologists A. Poidebard and J.-B. Mathey advanced the study through systematic mapping and topographical analysis of the theatre. They pioneered the application of aerial photography at Autun, documenting the theatre’s relationship to surrounding monuments and the city’s defensive walls. Their “Guide archéologique d’Autun” (1924) provided the first comprehensive visual documentation of the structure within its urban setting.

1940s-1950s: J. Fourier produced the definitive architectural plans of the theatre that remain referenced in modern scholarship. His meticulous measurements documented the 148-meter diameter, seating arrangements, and substructure system of radial vaults. These technically precise drawings, later incorporated into Frank Sear’s “Roman Theatres” (2006), revealed the sophisticated engineering of the cavea and circulation system.

1976-1984: A. Olivier and A. Rebourg conducted targeted excavations focusing on the theatre’s architectural elements and construction techniques. Their stratigraphic approach uncovered evidence dating the structure to the Vespasianic period (69-79 CE) and documented the evolution of the stage and orchestra areas. Their work, published in “Gallia,” established the theatre’s construction chronology and technical specifications.

1984-1989: Alain Rebourg integrated the theatre into his comprehensive archaeological survey of Roman Autun. His excavations clarified the relationship between the theatre and surrounding entertainment district, including the nearby amphitheatre. Rebourg’s definitive publication in “Carte Archéologique de la Gaule: Autun” (1993) synthesized previous research while correcting earlier misconceptions about the theatre’s structural elements.

1992-1998: Michel Kasprzyk focused on the late antique transformations of the theatre, documenting the fourth-century CE modifications to the orchestra and ima cavea. His excavations revealed how the lowest seating rows were cut back by 1.5 meters and a vaulted gallery added around the orchestra. Kasprzyk’s doctoral research demonstrated the theatre’s continued importance in late Roman Autun when many provincial theatres had been abandoned.

2001-2005: Yannick Labaune employed advanced geophysical techniques including ground-penetrating radar to investigate the theatre’s foundations and surrounding precinct. His work revealed previously undocumented water management systems and identified pathways connecting the theatre to nearby temples. Published in “Autun, une ville en mutation” (2008), Labaune’s research demonstrated how the theatre functioned within the broader urban infrastructure.

2012-2016: INRAP (Institut National de Recherches Archéologiques Préventives) conducted conservation-focused investigations using digital documentation technologies. Their work included 3D laser scanning of the surviving structure, materials analysis of the limestone construction, and emergency stabilization of deteriorating elements. This modern scientific approach produced a comprehensive digital model while implementing preservation measures for this significant Gallo-Roman monument.

Bibliography / Resources:

Bedon, Robert. Les Villes des Trois Gaules de César à Néron dans leur Contexte Historique, Territorial et Politique. Picard, 1999.

Bromwich, James. The Roman Remains of Northern and Eastern France: A Guidebook. Routledge, 2003.

Ducaroy, A. “Le Rideau de Scène du Théâtre de Lyon.” Gallia, vol. 34, 1976, pp. 85-100.

Grenier, Albert. Manuel d’Archéologie Gallo-Romaine, Part 3: L’Architecture. Picard, 1958.

Olivier, A. “Le Théâtre d’Autun.” Dossiers Histoire et Archéologie, vol. 134, 1989, pp. 35-40.

Rebourg, Alain. Carte Archéologique de la Gaule: Autun. Académie des Inscriptions et Belles-Lettres, 1993.

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

Trunk, Markus. Römische Tempel in den Rhein- und westlichen Donauprovinzen: Ein Beitrag zur architekturgeschichtlichen Einordnung römischer Sakralbauten in Augst. Forschungen in Augst, 1991.

Vatin, Claude. “Monuments et Espaces Urbains dans la Moitié Nord de la Gaule Romaine et dans les Germanies.” Revue Archéologique de l’Est et du Centre-Est, vol. 42, 1991, pp. 155-173.

Woolf, Greg. Becoming Roman: The Origins of Provincial Civilization in Gaul. Cambridge University Press, 1998.