Cadyanda / Kadyanda (modern Üzümlü), Turkey

Late 2nd/Early 1st c. BCE

Cavea Width: 47 meters
Orchestra Width: 18 meters

The Theatre at Cadyanda / Kadyanda, located in Üzümlü, Turkey (ancient Cadyanda), is a Roman-period theatre with Hellenistic origins; the cavea measures approximately 47 meters in diameter; it contains 17 rows of profiled stone seats arranged in 9 cunei (wedge-shaped sections) with an additional upper row behind the middle sections; the structure faces southwest; estimated seating capacity ranges from 3,000-4,000 spectators; the orchestra measures 18 meters in diameter; construction dates to the late 2nd or early 1st century BCE during the transition from Hellenistic to Roman architectural influence; the theatre currently exists in a partially preserved state with foundational elements and cavea seating well-maintained, though the scaenae frons (decorative scene building front) has collapsed, while the integration with the city’s polygonal defensive walls continues to provide structural integrity and demonstrates sophisticated ancient urban planning adapted to the mountainous terrain of this strategically positioned Lycian city.

Cadyanda / Kadyanda Theatre

Cadyanda’s origins extend deep into antiquity, with the city’s name suffix “-nd” suggesting potential foundations reaching back to 3000 BCE, though visible archaeological remains date to the 5th century BCE (Bean 176). During the Classical period, the city maintained independent political status within the Lycian confederacy system, evidenced by city coins bearing its Lycian name Kadawanti and its strategic position controlling movement through the region (“Cadyanda – Lycian Monuments”). The settlement’s political significance derived from its commanding location overlooking all approach routes north from Fethiye harbor, making it a critical crossroads for regional commerce and military movement.

The theatre’s construction during the late 2nd or early 1st century BCE occurred during a crucial transition period when the Lycian League maintained nominal autonomy under Roman oversight, allowing for the merger of Greek architectural traditions with Roman engineering innovations. This timing positioned Cadyanda’s theatre within the broader context of Hellenistic civic monumentality while incorporating technical advances that would characterize Roman provincial architecture.

Architectural 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: The theatre is situated at the south end of the ancient city site, positioned at GPS coordinates 36.71702, 29.23604, with a southwestern orientation that maximizes afternoon lighting and provides commanding views over the Xanthos Valley.

Cavea (Seating Area): The spectator seating area measures approximately 47 meters in diameter and exceeds a perfect semicircle, accommodating an estimated capacity of 3,000-4,000 spectators based on volumetric analysis (Sear 156). The cavea contains 17 rows of profiled stone seats arranged in 9 cunei (wedge-shaped sections), with the top row featuring a continuous stone back for enhanced comfort. Distinctive decorative elements include lion’s feet positioned next to staircases, representing typical Lycian sculptural motifs. A praecinctio (horizontal walkway) runs around the top of the seating area, measuring 3.95 meters wide at the sides and 1 meter wide behind the middle 5 cunei, supported by a retaining wall 4.30 meters high that accommodates an additional upper seating row.

Substructures: The theatre demonstrates sophisticated Roman engineering solutions adapted to local topography. The center portion rests directly against the natural hillside, while the 4 outer cunei are supported by aggestus (artificial embankment), combining natural rock-cutting techniques characteristic of Lycian construction with Roman structural engineering. The parodoi (side entrances) measure approximately 2.35 meters in width, providing adequate circulation for the audience.

Orchestra (Performance Space): The horseshoe-shaped performance area measures 18 meters in diameter, conforming to standard proportions for Roman theatrical architecture and providing adequate space for both dramatic performances and the athletic competitions documented in inscriptional evidence.

Pulpitum (Stage Platform): The proscaenium features oblique walls of solid construction, possibly incorporating Doric architectural order in the central section. Archaeological remains reveal a Doric half-column with a 0.335-meter diameter attached to a pilaster, suggesting sophisticated decorative treatment. The stage itself is trapezoidal in plan, measuring approximately 17 meters at the front, 25.80 meters at the rear, and 4.25 meters in width, providing substantial performance space for Roman theatrical productions.

Scaenae Frons (Scene Building Front): The hyposcaenium (space beneath the stage) features a central entrance with three doors and includes a staircase in the north-west corner for backstage access. The scene building measures 25.80 meters in length and 5.00 meters in width, with evidence suggesting that there were five doorways in the original design, conforming to Roman theatrical conventions that allowed for multiple entrance possibilities.

Access and Circulation: The theatre’s integration with the city’s polygonal defensive walls demonstrates sophisticated urban planning, with retaining walls serving dual functions for both theatrical architecture and city fortification. Multiple vomitoria (entrance passages) provided efficient audience circulation, while the elevated position ensured dramatic visual impact and acoustical effectiveness.

Ancient Renovation History

Archaeological and architectural evidence reveals multiple construction phases spanning several centuries, demonstrating the theatre’s continued importance throughout Cadyanda’s occupation history. The initial Hellenistic construction during the late 2nd or early 1st century BCE established the fundamental layout, utilizing natural topography and incorporating polygonal masonry techniques characteristic of Lycian engineering traditions.

The Roman Period modifications represent the most significant renovation phase, during which the original Hellenistic structure underwent substantial repair and adaptation for continued use under Roman administration. These renovations maintained the basic cavea structure while adapting stage areas to accommodate Roman theatrical preferences, including modifications to the scaenae frons and pulpitum arrangements. The integration of Roman decorative elements, including the Doric architectural features documented in the proscaenium, occurred during this renovation period.

Contemporary epigraphic evidence from the 2nd century AD records the restoration of the city’s “old gymnasium” by order of the city Senate, connected to the revival of athletic competitions that utilized the theatre complex. This gymnasium renovation suggests a broader program of civic infrastructure renewal during the Roman period, aimed at supporting the economic and cultural activities that sustained Cadyanda’s regional significance.

The theatre’s construction materials and techniques reflect this chronological development, with Hellenistic polygonal masonry evident in the foundational retaining walls, while Roman-period additions demonstrate the sophisticated concrete and stone-working techniques that characterized imperial provincial architecture. Despite later structural damage that destroyed portions of the stage building, the theatre retained approximately 20 rows of seats and continued functioning throughout the Roman period.

Ancient Renovation History

Archaeological and architectural evidence reveals multiple construction phases spanning several centuries, demonstrating the theatre’s continued importance throughout Cadyanda’s occupation history. The initial Hellenistic construction during the late 2nd or early 1st century BCE established the fundamental layout, utilizing natural topography and incorporating polygonal masonry techniques characteristic of Lycian engineering traditions.

Roman Period modifications represent the most significant renovation phase, when the original Hellenistic structure underwent substantial repair and adaptation for continued use under Roman administration. These renovations maintained the basic cavea structure while adapting stage areas to accommodate Roman theatrical preferences, including modifications to the scaenae frons and pulpitum arrangements. The integration of Roman decorative elements, including the Doric architectural features documented in the proscaenium, occurred during this renovation period.

Contemporary epigraphic evidence from the 2nd century AD records the restoration of the city’s “old gymnasium” by order of the city Senate, connected to the revival of athletic competitions that utilized the theatre complex. This gymnasium renovation suggests a broader program of civic infrastructure renewal during the Roman period, aimed at supporting the economic and cultural activities that sustained Cadyanda’s regional significance.

The theatre’s construction materials and techniques reflect this chronological development, with Hellenistic polygonal masonry evident in the foundational retaining walls, while Roman-period additions demonstrate the sophisticated concrete and stone-working techniques that characterized imperial provincial architecture. Despite later structural damage that destroyed portions of the stage building, the theatre retained approximately 20 rows of seats and continued functioning throughout the Roman period.

Archaeological Research

The archaeological investigation of Cadyanda represents over 180 years of sporadic but significant research, beginning with early European expeditions and culminating in current systematic excavations.

Sir Charles Fellows conducted the first European documentation in 1840 during his second Lycian expedition, publishing findings in “An Account of Discoveries in Lycia” (1841) and establishing Cadyanda’s place in scholarly literature. The Austrian Archaeological Expedition of 1892, led by Captain Ernst Krickl, provided crucial early photographic documentation and detailed site plans published in his “Lycian Journal 1892,” later made accessible through Nezih Başgelen’s 2005 translation and facsimile edition.

Otto Benndorf and Georg Niemann’s systematic research in 1884, published in “Reisen in Lykien und Karien,” established comprehensive architectural and archaeological documentation standards that influenced subsequent scholarly approaches. Jürgen Borchhardt and Günter Neumann’s 1968 analysis of dynastic tomb monuments, published in Archäologischer Anzeiger (174-238), provided crucial understanding of Cadyanda’s 5th-century BC funerary architecture and political significance.

Mid-20th century research by George E. Bean, culminating in his 1978 “Lycian Turkey: An Archaeological Guide,” became the standard scholarly reference for Lycian archaeological sites, providing detailed descriptions accessible to both researchers and educated visitors. German archaeologist Wolfgang W. Wurster’s 1980 surveys, published in Actes du Colloque sur la Lycie antique, contributed important comparative analysis within broader Lycian urban studies.

The most significant recent development began in 2022 with the first official systematic excavations under Dr. Fatih Onur’s direction, conducted by Muğla Sıtkı Koçman University’s Archaeology Department. The 2024 excavation season explored a 150,000-square-meter area and uncovered 30 new inscriptions, bringing the total known inscriptions from the site to approximately 150. These discoveries have revolutionized understanding of Cadyanda’s role in regional athletic and economic networks, revealing the city’s active organization of “Sacred Games” during the 2nd century AD.

Current research continues under Dr. Onur’s leadership, representing the first comprehensive academic excavation of this significant but previously understudied Lycian city, with focus on understanding urban development, epigraphic evidence, and regional cultural networks.

Bibliography / Resources:

“Ancient Greek City Reveals Secrets of Sacred Athletic Contests.” The Archaeologist, 2024, www.thearchaeologist.org/blog/ancient-greek-city-reveals-secrets-of-sacred-athletic-contests-the-inscription-that-surprised-archaeologists.

Bean, George E. Lycian Turkey: An Archaeological Guide. John Murray Publishers, 1978.

“Cadyanda.” Wikipedia, 24 July 2025, en.wikipedia.org/wiki/Cadyanda.

“Cadyanda – Lycian Monuments.” Lycian Monuments, 2024, www.lycianmonuments.com/kadyanda/.

Council of Europe. “Turkey – Herein System.” Council of Europe Cultural Heritage Information System, 2021, www.coe.int/en/web/herein-system/turkey.

Frézouls, E. “Roman Theatre Architecture in Asia Minor.” AST, vol. 3, 1984, pp. 451-452.

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

“Xanthos-Letoon.” UNESCO World Heritage Centre, 2025, whc.unesco.org/en/list/484/.