Caunus / Kaunos (modern Dalyan, Turkey

2nd c. BCE with 2nd c. CE Roman renovations

Cavea Width: 73 meters
Orchestra Width: 21 meters

The Theatre at Caunus / Kounos, located in modern Dalyan, Turkey, is a Greco-Roman theatre with a cavea diameter of 73 meters. The seating area comprises 33 total rows divided into two main sections: the ima cavea (lower seating) contains 18 rows of seats arranged in 9 cunei (wedge-shaped sections), while the summa cavea (upper seating) features 15 rows also in 9 cunei, with both sections separated by a praecinctio (horizontal walkway); orchestra: diameter approximately 21 m; the theatre faces southwest. Built initially in the 2nd century BCE during the Hellenistic period with major Roman renovations in the 1st-2nd centuries CE, this limestone structure accommodated approximately 5,000 spectators and represents a significant archaeological discovery due to its unique periaktos (rotating stage mechanism) – the only surviving example from antiquity. The theatre served both dramatic performances and civic gatherings, reflecting the cultural importance of this strategic Carian port city that flourished from the 6th century BCE until its abandonment in the 15th century CE.

The Theatre at Caunus / Kounos, located in modern Dalyan, Turkey

The Theatre at Caunus is situated on the slope of a hillside just above the city’s agora near present-day Dalyan in Muğla Province, southwestern Turkey. This strategically important port city, though culturally and linguistically Carian, often fell under the political influence of neighboring powers, including Lycia, Persia, Athens, and later Rome. The theatre, constructed during the Hellenistic period and modified during the Roman era, provides crucial insights into both theatrical architecture and the cultural evolution of this vital maritime trading center that flourished from the 6th century BCE.

Brief History of Caunus

Caunus (Ancient Greek: Καῦνος; Latin: Caunus; Carian: Kbid) was an ancient city of Caria that later became part of Lycia, positioned strategically on what was once the border between these two regions. According to legend, the city was founded by Caunus, the son of King Miletus, who fled after an incestuous love for his sister Byblis (Foss). Archaeological evidence suggests the city’s origins date back to the 10th century BCE, with the oldest finds being the neck of a Protogeometric amphora from the 9th century BCE or earlier (UNESCO World Heritage Centre).

Historically, Caunus flourished from the 6th century BCE and played a vital role in regional maritime trade, aided by its harbor and proximity to the inland lake of Köyceğiz. The city minted its own coinage, showcasing its independence and economic vitality, especially during the Classical and Hellenistic periods (Greaves). Under Roman rule, Caunus retained local autonomy and prospered into late antiquity. The city served as an important maritime port until silting of the Dalyan delta around 200 BCE gradually moved the coastline, leaving the once-coastal city approximately 8 kilometers inland (Hoskyn). Caunus was ultimately abandoned in the 15th century CE following a severe malaria epidemic and the capture of Caria by Turkish tribes, before eventually declining due to the silting of its harbor and shifting trade routes.

Brief History of the Theatre

The ancient theatre at Caunus was constructed in the Hellenistic period and modified during the Roman era. It likely dates to the 2nd century BCE, with major renovations carried out in the 1st and 2nd centuries CE. The theatre underwent multiple construction phases reflecting the city’s changing political and cultural circumstances. Initial construction began in the mid-2nd century BCE during the Hellenistic period, with the scene building added in the 1st century BCE, and a major reconstruction occurring in the 2nd century CE during the Roman period (Sear 331). Built from local limestone, the theatre offers panoramic views over the ancient city and the Dalyan delta. It served not only for dramatic performances but also for civic gatherings, illustrating the cultural and political significance of the site in ancient Caunus.

The theatre remained buried and forgotten until its rediscovery in 1842 by British Royal Navy surveyor Richard Hoskyn, who found tablets referring to the ancient city. Systematic archaeological excavation began in 1966 under Professor Baki Öğün and has continued to the present day, revealing the theatre’s unique architectural features, including the only known example of a periaktos (rotating stage mechanism) from antiquity.

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

• Modern city, Country: Dalyan, Turkey
• Orientation: Facing southwest
• GPS: 36.82564, 28.62361

Cavea (seating area)

• Diameter: 73 meters, exceeding semicircle
• Estimated capacity: Approximately 5,000 spectators
• Seating divisions:
  • Ima cavea (lower seating): 18 rows of seats (0.38 × 0.76 m) arranged in 9 cunei (wedge-shaped sections)
  • Summa cavea (upper seating): 15 rows in 9 cunei
  • Top rows feature continuous stone back-rests
  • Praecinctio (horizontal walkway) width: 1.74 m with podium wall height approximately 2 m
• Construction materials and techniques: Built against hillside using local limestone
• Substructures: Where the hill falls away on the northwest side, seating rests on heavy fill; two radial vaulted passageways run through outer cavea wall to the praecinctio; staircases run the final 1.25 m up to praecinctio level

Orchestra (performance space between audience and stage)

• Dimensions: Diameter approximately 21 m
• Shape and materials: Circular with no podium wall around the perimeter
• Special features: No special modifications noted in initial construction phase

Pulpitum (stage)

• Dimensions and construction details: Specifications not fully preserved in archaeological record
• Stage machinery: The theatre at Caunus contains the only known example of a periaktos – a rotary curtain system meaning “turning around its own axis” – discovered in ancient theatre archaeology (UNESCO World Heritage Centre). The architectural remains exhibit sufficient detail for reconstruction according to original design

Scaenae Frons (decorative scene house front)

• Architectural order and design: Roman period reconstruction featured five doorways decreasing in size toward the sides with flanking columns on podia
• Doorways and stories: Lower level has transverse room with 5 doors leading into hyposcaenium (basement area beneath stage)
• Decorative elements: 16 Doric columns from Hellenistic proscaenium (stage front) were later reused in Roman proscaenium

Access and Circulation

• Entrances, exits, and vomitoria: Two barrel-vaulted passages provide entrance from north and northeast
• Stairways: Radial vaulted passageways with staircases at ends leading to praecinctio level

The Caunus Periaktos Discovery

periaktoi: (περίακτοι) : peh-RIH-ak-toy: (Greek; sing. periaktos: from Greek, “revolving;” three-sided, revolving scenic device for quickly changing the scene). This was a device for changing scenery by mounting three upright, painted flats on a triangular base. By rotating the unit, three different painted “looks” could be revealed to the audience. Used for quickly changing scenic backgrounds.

• The periaktos remains at Caunus theatre in Turkey represent the only surviving archaeological example of ancient rotating stage mechanisms found at any theatre site worldwide (UNESCO World Heritage Centre). This extraordinary discovery provides unprecedented physical evidence of sophisticated Hellenistic theatrical engineering from the 4th-3rd century BCE.
• Archaeological Evidence: Complete stone foundations preserved in their original basement-level positions show central pivot points and mounting systems for triangular wooden prisms (Dergipark). Each prism had three painted faces that could be manually rotated to change scenic backgrounds during performances.
• Scholarly Documentation: Discovered during excavations beginning in 1966 under Prof. Baki Öğün and continued by Prof. Cengiz Işık, the findings are definitively published in Burhan Varkıvanç’s “Periaktoi at the Theatre of Kaunos” (2015) (Academia). Detailed reconstruction drawings demonstrate the operational mechanics.
• Historical Significance: While ancient sources like Vitruvius extensively described periaktoi, no other excavation has yielded physical remains, making Caunus uniquely valuable (Britannica). The discovery validates literary descriptions while revealing that these devices were rarer and more sophisticated than previously assumed. The remains are preserved under UNESCO protection with ongoing conservation programs, serving as the definitive archaeological reference for understanding ancient theatrical machinery and bridging the gap between literary sources and archaeological reality (UNESCO World Heritage Centre).

Current Status

The theatre remains in relatively good condition, with most structural elements preserved. The cavea retains much of its original seating, and the foundations of the stage building are clearly visible. The unique periaktos mechanism remains the most significant archaeological feature requiring continued conservation attention.

Conservation Efforts

The site operates under Turkey’s National Conservation Act No. 2863, registered as an archaeological conservation area since 1978. Regular excavations continue with international scholarly collaboration, and the site receives approximately 40,000 visitors annually.

UNESCO Status

Caunus was included on the UNESCO World Heritage Tentative List in 2014 as part of the “Ancient City of Kaunos” nomination, recognizing its Outstanding Universal Value for understanding ancient Anatolian civilizations and theatrical architecture.

Ancient Renovations

The theatre underwent five distinct construction and transformation phases (Dergipark):

• Mid-2nd century BCE: Initial Hellenistic construction phase
• 1st century BCE: Addition of scene building with characteristic Hellenistic features
• 2nd century CE: Major Roman period reconstruction and enlargement
• Later Roman period: Additional modifications and improvements to stage mechanisms
• Byzantine period: Minor adaptations for continued use

Chronological Phases

Each successive phase resulted in covering or substantial removal of previous architectural and decorative elements, making the Caunus theatre particularly valuable for understanding theatrical evolution. The periaktos discovery represents the only surviving example of this rotating stage mechanism from antiquity.

Archaeological Research

1842: British Royal Navy surveyor Richard Hoskyn (1811-1873) rediscovered the site and found a tablet referring to the Council of Kaunos, marking the first modern identification of the ancient city.

1966-2001: Professor Baki Öğün (1922-2001) initiated systematic excavations. Öğün, affiliated with Turkish universities, led a comprehensive archaeological investigation of the site for 35 years.

2001-2020: Professor Cengiz Işık, a student of Öğün, continued directing excavations and expanded research to include nearby sites such as the Sultaniye Spa sanctuary of goddess Leto.

2021-present: Dr. Ufuk Çörtük, a student of Işık, assumed leadership of ongoing excavations, focusing on the discovery of the Roman basilica and Byzantine church.

Major Discoveries and Publications

Significant archaeological publications include Öğün’s comprehensive 35-year research summary “Kaunos/Kbid: 35 Yılın Araştırma Sonuçları (1966–2001)” and Işık’s continued documentation through annual Kazı Sonuçları Toplantısı (Excavation Results Meeting) reports.

Modern Restorations

Limited modern restoration has been undertaken, with emphasis on conservation rather than reconstruction. The site maintains its archaeological integrity while allowing visitor access through wooden walkways and observation platforms.

Bibliography / Resources:

“Ancient City of Kaunos.” UNESCO World Heritage Centre, whc.unesco.org/en/tentativelists/5906/.

Bean, George E. Turkey Beyond the Maeander: An Archaeological Guide. Ernest Benn, 1971.

Bean, George Ewart. Turkey beyond the Maeander: An Archaeological Guide. Ernest Benn Ltd, 1971.

Bieber, Margarete. The History of the Greek and Roman Theater. Princeton University Press, 1961.

Ferrero, Dario de Bernardi. Teatri Classici in Asia Minore III. L’Erma di Bretschneider, 1970.

Foss, Clive. “Caunus.” The Princeton Encyclopedia of Classical Sites, edited by Richard Stillwell, Princeton University Press, 1976.

Greaves, Alan M. The Land of Ionia: Society and Economy in the Archaic Period. Wiley-Blackwell, 2010.

Hoskyn, Richard. “Discovery of Ancient Caunus.” Journal of the Royal Society of London, vol. 12, 1842, pp. 145-148.

Işık, Cengiz. “Kaunos/Kbid 2007. Kazı-Konservasyon-Onarım-Arkeolojik Park Çalışmaları ve Etkinlik.” Kazı Sonuçları Toplantısı, vol. 30, 2008, pp. 1-10.

“Kaunos.” Wikipedia, 12 Dec. 2024, en.wikipedia.org/wiki/Kaunos.

Öğün, Baki, et al. Kaunos/Kbid: 35 Yılın Araştırma Sonuçları (1966–2001). İzmir, 2001.

“Periaktos.” Britannica, www.britannica.com/art/periaktos.

“Periaktoi at the Theatre of Kaunos.” Academia, www.academia.edu/36790772/Periaktoi_at_the_Theatre_of_Kaunos.

Ruge, Wilhelm. “Kaunos.” Realencyclopädie der classischen Altertumswissenschaft, vol. X, 1919, pp. 1868–1882.

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

Serdaroğlu, Ü. “Kaunos Tiyatrosu Üzerine Bir Çalışma.” Türk Arkeoloji Dergisi, vol. 16, no. 1, 1967, pp. 133-136.

“The Stone Architecture of the Proskene of the Theater in Kaunos.” Dergipark, dergipark.org.tr/en/pub/adalya/issue/54569/743820.

Varkıvanç, Burhan. “Periaktoi at the Theatre of Kaunos.” Adalya, vol. 18, 2015, pp. 181-202.