The Theatre at Corinth (modern Kórinthos, Korinthia, Greece)

400 BCE

Cavea Width: 121 meters
Orchestra Width: 27 meters

Summary: The Theatre at Corinth (modern Kórinthos, Korinthia, Greece): located immediately west of the central area and Temple of Apollo at 37.90687°N, 22.87696°E; cavea diameter 120 meters; initially 58 rows of seats in 14 cunei during Greek phase, later reorganized to 6 cunei divided into ima, media, and summa cavea during Roman period; facing north; estimated seating capacity 14,000-18,000 spectators; orchestra diameter 27 meters in Roman period (8.58 meters in Greek phase); initial construction before 350-325 BCE with first stone cavea built 330-303 BCE, followed by multiple Roman renovations including major reconstructions in the Augustan/Tiberian period, after 77 CE, and in the 3rd-4th centuries CE; current condition partially preserved with only footings of cavea and scene building remaining due to extensive stone robbing. (Source: Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006.)

Corinth Theatre (modern Kórinthos, Korinthia, Greece)

Introduction

The ancient theatre at Corinth is situated in the northeastern Peloponnese of Greece, within the archaeological site of ancient Corinth. Located at coordinates 37.90687°N, 22.87696°E, the theatre occupies a prominent position immediately west of the central area and the Temple of Apollo, which stands as one of the most recognizable landmarks of the site (Stillwell 148). The theatre was strategically positioned on a gentle slope facing northward.

History

The earliest theatre structure dates to before 350-325 BCE, with archaeological evidence suggesting initial construction during the height of Greek influence in the region (Gebhard 17). This original theatre was modest in scale compared to later iterations, featuring simple earthen seating arrangements without permanent stone structures.

The theatre underwent its first significant expansion around 320 BCE, followed by the installation of the first stone cavea (seating area) between 330-303 BCE, a dating supported by numismatic evidence from the period (Gebhard). This development coincided with a period of prosperity and cultural flourishing in Corinth during the late Classical and early Hellenistic periods.

Following the Roman destruction of Corinth in 146 BCE and the city’s subsequent refounding as a Roman colony in 44 BCE, the theatre entered a new phase of development. The early Roman colonists initially reused the Greek theatre with only minor modifications, maintaining much of its original Greek character (Stillwell 147).

One of the most significant historical accounts related to the theatre comes from Vitruvius, who notes that the Roman general Lucius Mummius, after conquering Corinth in 146 BCE, removed bronze sounding vessels from the theatre and brought them to Rome (Vitruvius, De Arch. 5.5.8). This detail offers a rare glimpse into the acoustic technology employed in the original Greek structure.

The theatre experienced multiple renovations during the Roman Imperial period, including a major reconstruction in the late Augustan or early Tiberian period (approximately 14-37 CE), when the cavea was rebuilt at a steeper angle. A subsequent renovation followed the devastating earthquake of 77 CE, with the scaenae frons (stage building façade) receiving a Hadrianic-period update in the early 2nd century CE (Shear 383). During the early 3rd century CE, the theatre was converted into an arena for gladiatorial contests and venationes (animal hunts), reflecting changing entertainment preferences under Roman rule (Sturgeon 12).

The final major alteration occurred in the early 4th century CE when the orchestra was transformed into a kolymbethra (water basin) for aquatic displays, a conversion commonly seen in Roman theatres of the Late Antique period (Traversari 31-34).

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: 37.90687°N, 22.87696°E
• Orientation: Facing north
• Position: Immediately west of central area and Temple of Apollo
• Topographical details: Initially built against a natural slope, later modified with artificial substructures to achieve a steeper incline

Cavea (Seating Area):

• Diameter: 121 meters in the Roman period
• Estimated seating capacity: Approximately 14,000-18,000 spectators (Williams and Zervos 92)
• Division of seating sections: The Greek theatre featured 14 cunei (wedge-shaped sections), while the Roman reorganization reduced this to 6 cunei divided into ima, media, and summa cavea (lower, middle, and upper seating sections) separated by broad praecinctiones (horizontal walkways)
• Construction materials: Plain stone slabs (height 0.30 m, width 0.37 m) with footwells of beaten earth (depth 0.30 m) in the Greek phase (Sear 392)
• Support structures: The Roman reconstruction employed radial walls to achieve a steeper seating angle (1:2.08), with four substantial buttresses reinforcing the structure to counter the resultant pressures from the increased height (20 meters) (Stillwell 149)
• Access points: A vaulted passage ran from the street east of the theatre, under the summa cavea, to the upper praecinctio; pairs of staircases were placed in alternate cunei, leading up to the summa cavea (Sear 393)

Orchestra:

• Diameter: 27.25 meters in the Roman period; the Greek orchestra featured a stone circle with a diameter of 8.58 meters
• Shape: Circular in both Greek and Roman phases
• Paving materials: The Roman orchestra was paved in polychrome marble, surrounded by a wall 0.95 meters in height
• Special features: The Greek orchestra included a gutter (width 0.52 m, depth 0.63-0.76 m) around its rim, spanned by seven bridges corresponding to staircases dividing the cavea; the Roman orchestra featured two steps for bisellia (double seats for dignitaries) and a shallow basin in front of the proscaenium wall (length 20 m, width 1.80 m, depth approximately 0.30 m), possibly for sparsiones (water sprinklings) (Shear 386)
• Changes over time: In the early 3rd century CE, the first ten rows of the cavea were removed to create an arena (27 × 36 meters) for gladiatorial contests, with a wall (height 3.50 meters) built around it and decorated with scenes of venationes; in the early 4th century CE, this area was converted into a kolymbethra, with the wall strengthened and the floor repaved in cement to allow flooding for aquatic displays (Traversari 32)

Pulpitum/Stage:

• Dimensions: Length 54.5 meters, width varying between 5.65-7.20 meters in the Roman phase
• Construction details: The Greek stage was initially wooden (evidenced by two rows of post-holes approximately 4 meters apart) before being replaced by a stone structure
• Stage machinery elements: Evidence of mast holes for the aulaeum (drop curtain); a large cutting (approximately 6 × 2.50 meters) near the west end of the hyposcaenium and a large block with a square cutting, possibly for a periaktos (revolving scenic device) (Stillwell 156)
• Access points: The Greek proscaenium (stage front) featured ramps at the sides and Charonian steps (width 0.50 meters) emerging at the edges of the orchestra for actor entrances from below (Sear 392)

Scaenae Frons (Decorative Scene House Front):

• Height: Approximately 20 meters in the post-77 CE reconstruction
• Architectural order: Three-story columnatio (columned façade)
• Number of stories and doorways: Three stories with three doorways, each enclosed in curved niches with pairs of columns in front
• Decorative elements: Elaborate friezes depicting the Gigantomachy, Amazonomachy, and Labours of Heracles, demonstrating exceptional sculptural craftsmanship (Sturgeon 15-27)
• Architectural innovations: Counter-curves on the postscaenium side of the scaenae frons wall, creating a dynamic visual effect; the curved niches housing the doorways represented a departure from the rectilinear designs common in earlier Roman theatres (Sear 393)

Decoration:

• Materials used: Polychrome marble in the orchestra, painted frescoes on walls
• Sculptural programs: Relief sculptures on the scaenae frons depicting mythological scenes including the Gigantomachy (battle between gods and giants), Amazonomachy (battle between Greeks and Amazons), and the Labours of Heracles (Sturgeon 15-27)
• Inscriptions: Several fragmentary inscriptions have been recovered, primarily from the Roman phases, indicating imperial dedications and local benefaction (Babbitt 486-491)
• Painted elements: The back wall of the Roman cavea featured frescoes in a style similar to the Second Style of Roman wall painting; the arena wall was decorated with painted scenes of venationes (Sear 393)

Access Points:

• Entrances and exits: Primary access via the aditus maximi (main entrances) on either side of the cavea, rebuilt at right angles to the main axis during the first Roman renovation
• Vomitoria: A vaulted passage connected the street east of the theatre to the upper praecinctio, functioning as a primary vomitorium (access passageway)
• Stairways: Seven staircases divided the Greek cavea into 14 cunei; the Roman reconstruction featured pairs of staircases in alternate cunei, leading to the summa cavea
• Special areas: Tribunalia (special seating boxes) were constructed for dignitaries, relocated during the arena conversion; the orchestra contained two steps for bisellia reserved for important officials (Shear 387)

Current Status

The theatre at Corinth exists today in a partially preserved state, having suffered extensive stone robbing throughout the post-antique period. Only the footings of the cavea and scene building remain visible, with the original seating blocks and most architectural elements removed for reuse in later structures (Stillwell 162).

The site is accessible to visitors as part of the Archaeological Site of Ancient Corinth, managed by the Greek Ministry of Culture. While no longer used for performances, the theatre remains an important archaeological attraction, illustrating the evolution of theatrical architecture from the Greek to the Late Roman periods.

Conservation efforts have focused primarily on site stabilization and documentation rather than reconstruction, with ongoing concerns about erosion and structural stability (Williams and Zervos 102). The archaeological work continues intermittently, with periodic conservation interventions to preserve the remaining elements.

Renovations

The theatre at Corinth underwent numerous renovations throughout its long history:

• Pre-350-325 BCE: Initial construction of the earliest theatre without stone seating or retaining walls
• c. 320 BCE: First major expansion of the cavea
• 330-303 BCE: Installation of the first stone cavea, based on coin evidence (Gebhard)
• 44 BCE onward: Minor modifications by the earliest Roman colonists following Corinth’s refounding
• Late Augustan/early Tiberian period (c. 14-37 CE): Major reconstruction with the cavea rebuilt at a steeper angle
• Post-77 CE: Significant rebuilding following a devastating earthquake
• Hadrianic period (117-138 CE): Reconstruction of the scaenae frons with elaborate sculptural programs
• Early 3rd century CE: Conversion into an arena for gladiatorial contests and animal hunts; cavea altered to an even steeper angle
• Early 4th century CE: Orchestra transformed into a kolymbethra for aquatic spectacles (Traversari 33)

These renovations reflect not only responses to structural damage but also changing cultural preferences and entertainment practices throughout the Greek and Roman periods (Williams and Zervos 95-98).

Archaeological Excavations

The excavation history of the Corinth theatre spans more than a century, beginning with American archaeological initiatives in the late 19th century. The first systematic work was conducted by F.C. Babbitt in 1896, whose preliminary findings were published in the American Journal of Archaeology in 1897 (Babbitt 481-494).

Major excavations were carried out under the direction of T. Leslie Shear between 1925 and 1929, uncovering significant portions of the theatre and establishing its basic chronology (Shear 381-388, 449-463, 515-523). This work was continued by Richard Stillwell, whose definitive publication “Corinth, II: The Theatre” in 1952 remains a cornerstone of scholarship on the site (Stillwell).

More recent excavations by the American School of Classical Studies at Athens, particularly the work led by Charles K. Williams and Orestes H. Zervos in the 1980s, have refined our understanding of the theatre’s phases and its relationship to the surrounding urban context (Williams and Zervos 83-122, 95-146, 25-36).

The sculptural program of the scaenae frons received detailed analysis in Mary C. Sturgeon’s 1977 volume “Corinth, IX/2: Sculpture: The Reliefs from the Theatre,” which documented the extraordinary quality and iconographic significance of the architectural decoration (Sturgeon).

Elizabeth Gebhard’s work on the chronology of the theatre, particularly her research on the numismatic evidence for dating the first stone cavea, has provided crucial refinements to the site’s periodization (Gebhard).

Bibliography / Resources:

Bibliography

The Archaeological Museum of Ancient Corinth. Ephorate of Antiquities of Corinth.
https://www.corinth-museum.gr/en/archaeological-site/theatre/.  Accessed 08/11/2022

Babbitt, F. C. “The Theatre at Corinth.” American Journal of Archaeology 1 (1897): 481-494.

Capps, Edward. “The Roman Theatre at Corinth.” Hesperia, supplement 8 (1949): 64-70.

Gebhard, Elizabeth R. “The Isthmian Games and the Sanctuary of Poseidon in the Early Empire.” Isthmia (1973): 17.

Gebhard, Elizabeth R. “Protective Devices in Roman Theatres.” Studies in the Antiquities of Stobi 2 (1975): 61-62.

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

Shear, T. Leslie. “Excavations at Corinth, 1925.” American Journal of Archaeology 29 (1925): 381-388.

Stillwell, Richard. “The Theatre at Corinth.” American Journal of Archaeology 33 (1929): 77-97.

Stillwell, Richard. Corinth, II: The Theatre. The American School of Classical Studies at Athens; Princeton, 1952.

Sturgeon, Mary C. Corinth, IX/2: Sculpture: The Reliefs from the Theatre. Princeton, 1977.

Traversari, Gustavo. “Dioniso.” Spettacoli in acqua 13 (1950): 31-34.

Williams, C. K., and O. H. Zervos. “Corinth, 1983: The Route to Sikyon.” Hesperia 53 (1984): 83-122.

Williams, C. K., and O. H. Zervos. “Corinth, 1987: South of Temple E and East of the Theater.” Hesperia 57 (1988): 95-146.

Williams, C. K., and O. H. Zervos. “Corinth, 1988: East of the Theater.” Hesperia 58 (1989): 25-36.