Catana/Katane (modern Catania, Sicily, Italy)

Greek:400 BCE, Roman: 1st C. CE.

Cavea Width: 87 meters
Orchestra Width: 29 meters

The Roman Theatre at Catana (modern Catania, Sicily) has a cavea measuring 87-102 meters in diameter, facing south. The seating area is organized in three sections: ima cavea (23 rows in 9 cunei), media cavea (10 rows in 9 cunei), and summa cavea (5 rows in 8-10 cunei), separated by horizontal walkways. The theatre accommodated approximately 7,000 spectators. Its orchestra measures 29 meters in diameter, originally marble-paved before conversion to a water basin for aquatic performances. Construction occurred in multiple phases: the Greek original (5th century BCE), Roman Augustan-Flavian remodeling (late 1st century BCE/1st CE), Hadrianic modifications (2nd century CE), Antonine-Severan expansion (late 2nd/early 3rd century CE), and late antique adaptations (3rd-4th century CE). The cavea remains well-preserved today, while portions of the stage building have been excavated, though some sections remain beneath modern buildings. (Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006, pp. 186-187)

Catana / Katane Roman Theatre (modern Catania, Sicily, Italy).

Introduction

The ancient Catana Theatre is located in the historic center of modern Catania, Sicily, Italy, at GPS coordinates 37.50289, 15.08362. The monument stands on the southern slope of the Montevergine Hill (ancient acropolis), in what was once the heart of both the Greek colony of Katane and the later Roman city of Catana. This impressive structure is situated in close proximity to the Roman Odeon, creating a notable cultural complex in the ancient urban landscape. Today, the theatre is surrounded by the modern city of Catania, with the entrance accessible from Via Vittorio Emanuele 266, where visitors can explore the exposed ruins amidst subsequent building developments that followed centuries of earthquakes and urban renovation.

History

The theatre has a complex history spanning multiple civilizations and periods. Archaeological evidence suggests that the original Greek theatre was constructed sometime in the 5th century BCE (Hines), shortly after the founding of the Chalcidian Greek colony of Katane in 729-728 BCE. The earliest Greek phase is poorly documented, as few definitive remains have been identified, though reused limestone blocks and an older wall beneath the present cavea (seating area) suggest its existence (Sear 187).

When Rome occupied the city in 263 BCE, they renamed it Catana and eventually transformed the Greek structure into a Roman theatre. The earliest Roman remodeling is generally associated with the Augustan-Flavian period in the late 1st century BCE and 1st century CE, with subsequent major renovations occurring during the Hadrianic period (2nd century CE) when passages were constructed under the cavea (Sear 187). The theatre reached its most monumental form during the Antonine-Severan period (late 2nd to early 3rd century CE), when it underwent radical restoration including the enlargement of the entire structure with the building of a third walkway and creation of a new external façade (Malfitana et al.).

The scaenae frons (stage building backdrop) was redecorated in the early 3rd century CE (Sear 187), and during the 4th century CE, the theatre was adapted for aquatic shows, with modifications including the creation of channels and water drainage systems, transforming the orchestra into a kolymbethra (water feature) (Malfitana et al.).

Between the 5th and 6th centuries CE, the theatre lost its original function, as evidenced by the construction of structures in the orchestra and the gradual filling of the monument’s lower sections (Malfitana et al.). In the 11th century, Count Roger ordered the theatre to be stripped of its marble, which was repurposed for the construction of the cathedral (Hines). Throughout the medieval period, the theatre deteriorated due to stone robbing and gradual burial beneath new construction, culminating in the formation of a residential quarter known as “Grotte” in the theatre area (Malfitana et al.).

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

The theatre is positioned at GPS coordinates 37.50289, 15.08362, facing south on a steep slope in the center of town. It was strategically built into the natural contour of the Montevergine Hill, utilizing the topography to support much of the cavea structure. The theatre and odeum were built side by side, creating an important cultural complex within the ancient city (Sear 186).

Cavea

The cavea’s (seating area) measures 87 meters in diameter (Sear 186). This semicircular seating area could accommodate approximately 5,000 to 7,000 spectators.

The cavea was divided into three distinct horizontal sections:

• Ima cavea (lower seating section): 23 rows arranged in 9 cunei (wedge-shaped sections), with the 12 lowest rows separated from the upper 11 rows by a very narrow praecinctio (horizontal walkway, width 1.1 meters).
• Media cavea (middle seating section): 10 rows arranged in 9 cunei, separated from the summa cavea by a praecinctio (width 2.80 meters) with a podium (raised platform, height 5 meters).
• Summa cavea (upper seating section): 5 rows arranged in either 8 or 10 cunei, with a flat platform in the middle (width approximately 6 meters) that potentially supported a small temple (Sear 186).

The seating was constructed primarily of black basalt with white marble seats, creating a striking visual contrast. The dividing staircases (scalaria) were made of black lava stone, enhancing this aesthetic effect (Sear 186).

Substructures

The cavea rested against the hillside and was built of opus vittatum (masonry technique using rectangular stones). It featured an elaborate system of substructures and passageways:

• An annular passage (circular corridor, width 2.60 meters, height 3.50 meters) ran under the upper part of the ima cavea, with 4 vomitoria (access passageways) leading to the narrow praecinctio in the middle of the ima cavea.
• Another passage (width 2.30 meters, height 4.5 meters) ran under the media cavea, with at least 3 vomitoria leading to the praecinctio at the top of the ima cavea.
• Around the top of the building, a barrel-vaulted crypta (covered corridor, width approximately 4 meters, height 6.5 meters) supported the summa cavea and was accessible from a pair of double staircases built against the outer wall of the building (Sear 186).

Sixteen radial staircases ran from the crypta: 8 to the praecinctio at the top of the media cavea and 8 to the lower annular passages. A radial staircase emerged from the lowest annular passage at orchestra level in the middle of the central cuneus, while at each end of it a radial corridor emerged, apparently at orchestra level, in the middle of each end cuneus. The east tribunal (elevated platform for officials) has been uncovered (Sear 186).

Orchestra

The orchestra (semicircular performance space) measured 29 meters in diameter and was paved in marble. Archaeological investigations revealed that the original flooring consisted of bi-chrome marble slabs arranged in geometric patterns with circles inscribed inside squares (Malfitana et al.). In late antiquity, this orchestra was transformed into a kolymbethra (water basin) for aquatic performances, a modification associated with the 4th century CE renovations (Sear 186).

Pulpitum/Stage

The pulpitum (stage platform) featured alternating curved and rectangular niches along its front (Sear 186). The stage building was substantially modified during the Antonine-Severan period by the insertion of curving exedrae (semicircular recesses) into the rear wall of the side doors (Malfitana et al.). Recent excavations revealed the eastern gate of the stage with two large columns at the sides, with bases of lava stone still visible in situ (Catana Reading 2).

Scaenae Frons

The scaenae frons (decorated scene building front) featured a regia (central doorway) enclosed in what appears to have been a large rectangular niche, while the hospitalia (side entrances) were set in curved niches (Sear 186).

The columnatio (arrangement of columns) reached an impressive height of 22.65 meters across three stories, with a two-story giant order in front of the regia, according to Pensabene. A white marble column base found in situ matches another discovered during 18th-century excavations by Serradifalco. Parts of the columnatio found in earlier excavations revealed columns made of grey granite, africano (colored marble), and breccia (Sear 186).

Decoration

The theatre was richly decorated with statues of Hercules, Apollo, two Muses, and possibly Roma. Archaeological excavations uncovered a base with dolphins in relief, a relief of Hercules, and a gigantomachy frieze (depicting the battle between giants and gods). More recent excavations revealed a frieze with five lictors (ceremonial attendants) in procession and a related fragment possibly showing a general (Sear 186).

During the Antonine-Severan renovations, the decorative repertory was notably enriched by the insertion of statues, decorative friezes, and columns in different types of marble, giving the entire complex a monumental aspect (Malfitana et al.).

Access Points

Access to the theatre was provided through multiple entry points that accommodated the various ground levels around the structure. Most spectators entered from the north side, where direct access to the external walkway was available via a series of arched openings, each with a short flight of steps (Malfitana et al.).

The summa cavea could be entered from the north side via two distinct masonry-built foreparts abutting the structure, each featuring a double flight of symmetrically divergent steps that overcame a height difference of about 8 meters. Additional access was provided by a large flight of steps in the northwestern sector, leading to the second walkway (Malfitana et al.).

Current Status

The ancient Catana Theatre remains are relatively well-preserved, particularly the cavea, which continues to convey the impressive scale of the original structure. As noted by Sear in 2006, the scene building was still being excavated (Sear 187), though subsequent work has uncovered additional elements of this important component.

Unlike some ancient theatres that have been fully restored for modern performances, the Catana Theatre primarily functions as an archaeological site and tourist attraction. Its integration within the modern urban fabric presents both challenges and opportunities for preservation and interpretation.

Many elements of the theatre remain buried beneath modern Catania, though expropriations in 1991 resulted in the acquisition of buildings on the east side, allowing for a clearer picture of the ancient remains (Hines). The western side remains largely unexplored, as an imposing 19th-century palace stands on top of it (Malfitana et al.).

Conservation efforts continue, focused on preserving the exposed ruins and protecting them from environmental damage and urban encroachment. Today, visitors can access the site through the entrance at Via Vittorio Emanuele 266. The monument is open to visitors.

Renovations

The theatre underwent several major renovation phases throughout its history:

1. Original Greek Construction (5th century BCE): Though limited evidence remains, the initial theatre is believed to have featured a horseshoe-shaped cavea typical of Greek theatres of this period (Malfitana et al.).
2. Julio-Claudian Renovation (1st century CE): The first Roman arrangement of the theatre occurred during the Augustan period, when the parodoi (side entrances to the orchestra) were built on the extreme wings of the cavea, welding it to the scenic building. The stage at this time was narrower than its later iterations (Catana Reading 2).
3. Hadrianic Remodeling (2nd century CE): Major structural modifications included the addition of passages under the cavea, as noted by Wilson (Sear 187).
4. Antonine-Severan Expansion (late 2nd to early 3rd century CE): The most substantial renovation involved the enlargement of the entire structure with the construction of the third walkway and creation of a new external façade. The cavea was rebuilt, with evidence of superimposition of limestone blocks of the first diazoma (horizontal passage dividing seating sections) on an earlier diazoma. The scaenae frons was redesigned to be narrower than before, and a new third seating tier was added above the pre-existing ones (Malfitana et al.).
5. Late Antique Modifications (3rd-4th century CE): Between the late 3rd and mid-4th century CE, the theatre was restored and modified to accommodate water performances. A larger stage was constructed using fragments of earlier statues and columns as building material. During this phase, a high podium was superimposed on the last steps of the Eastern wedges and connected to the orchestra by stairs. The passage from the eastern parodos to the environments behind the front stage was also modified with the creation of a large hallway with arched openings on the east side (Catana Reading 2).

Archaeological Excavations

Serious archaeological interest in the theatre began in the 18th century with excavations initiated by Ignazio Paternò Castello V, Prince of Biscari, starting in 1770. His work uncovered part of the scaena and pulpitum, as well as numerous decorative elements that once adorned the stage building (Malfitana et al.).

In the 19th century, further explorations were conducted by F. Ferrara, M. Musumeci, and S. Sciuto-Patti, though these were limited to partial investigations of the cavea and walkways (Malfitana et al.).

The mid-20th century marked the beginning of systematic excavation and restoration efforts. Between 1950 and 1970, architect I. Gismondi, following guidelines established by G. Libertini, began exposing the surviving parts of the cavea. Simultaneously, the Archaeological Superintendency for Eastern Sicily initiated excavations of the scaena and orchestra, launching the first regular campaign of archaeological investigations (Malfitana et al.).

The work continued through the 1980s and 1990s, exploring new sections of the monument, particularly on the eastern side, facilitated by the acquisition of modern buildings that stood on top of it. Significant excavation campaigns took place in 1998-2001, 2004-2008, and 2014-2015, providing valuable insights into the theatre’s construction phases and enabling the almost complete exposure of the building (Malfitana et al.).

In 1979 and 1980, research carried out by the Archaeological Superintendency of Syracuse and the University of Catania identified elements useful for dating the various construction phases and uncovered important remnants of the stage apparatus.

Recent technological advances have contributed to our understanding of the theatre. A laser-scanning survey campaign documented by Malfitana and colleagues has provided detailed three-dimensional data on the structure, remedying previous gaps in the graphic documentation and enabling more accurate reconstructions of the monument’s appearance during different historical phases.

Bibliography / Resources:

Branciforti, Maria Grazia, and Giuseppe Pagnano. Il complesso archeologico del Teatro e dell’Odeon di Catania. Palermo, 2008.

Branciforti, Maria Grazia. “Da Katane a Catina.” Tra lava e mare. Contributi all’archaiologhia di Catania, edited by Maria Grazia Branciforti and Vincenzo La Rosa, Catania, 2010, pp. 183-209.

Buscemi, Francesca. Architettura e romanizzazione della Sicilia di età imperiale: gli edifici per spettacoli. Palermo, 2012.

“Catana Reading 2.” Docx file, n.d.

Malfitana, Daniele, et al. “Critical Reading of Surviving Structures Starting from Old Studies for New Reconstructive Proposal of the Roman Theatre of Catania.” ResearchGate, 2016.

Mitens, Knud. Teatri Greci e Teatri Ispirati all’Architettura Greca in Sicilia e nell’Italia Meridionale. Rome, 1988, pp. 100-103.

Pensabene, Patrizio. “Marmi Pubblici e Marmi Privati. Note sul Reimpiego nel Teatro di Catania.” Rendiconti della Pontificia Accademia Romana di Archeologia, vol. 69, 1996-1997, pp. 53-74.

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

Wilson, Roger J.A. Sicily under the Roman Empire. Warminster, 1990.

Wilson, Roger J.A. “Sicily.” Aufstieg und Niedergang der Römischen Welt, vol. 2, no. 11.1, 1988, pp. 125-127.