Delphi (modern Delphi, Greece)
Ancient City
Location
Theatre Type
Earliest Date
4th Century BCE
GPS Coordinates
Seating Capacity
Dimensions
Cavea Width: 52 meters
Orchestra Width: 18 meters
Summary
The Roman Theatre at Delphi (modern Delfi, Greece): GPS coordinates 38.48246, 22.50053; the cavea has a diameter of 52 meters and contains an ima cavea with 28 rows arranged in 7 cunei, separated by a praecinctio (1.60m wide) from the summa cavea with 7 rows in 6 cunei; the theatre faces southeast and is built against the hillside; seating capacity ?5,000; the orchestra measures 18.4 meters in diameter, is paved in stone, and surrounded by a passage and drain; inscriptional evidence dates construction activities to 272-269 BCE with restoration by Eumenes II of Pergamum in 160 BCE (Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006, 395-396)
Delphi Theatre
Introduction: It’s all about the view
The ancient theatre of Delphi is situated on the southern slopes of Mount Parnassus in the archaeological site of Delphi (modern Delfi), Greece. Located at GPS coordinates 38.48246, 22.50053, the theatre occupies a prominent terraced position above the renowned Temple of Apollo, offering spectators both dramatic performances and spectacular views of the valley below and the Gulf of Corinth in the distance (Keramopoulos 12).
History
The Theatre of Delphi was constructed during the 4th century BCE, with archaeological evidence and inscriptional data suggesting an initial completion date in the early Hellenistic period. The structure we see today represents several phases of construction and renovation spanning from the 4th century BCE through the Roman period (Lévèque, “Le Théâtre de Delphes” 248-250).
The theatre played a significant role in the cultural and religious life of Delphi, hosting both theatrical performances and musical competitions associated with the Pythian Games. These games, held every four years in honor of Apollo, were second only to the Olympic Games in importance within the ancient Greek world. Literary evidence from Plutarch mentions performances depicting Apollo’s battle with Python and poetry competitions about this mythic encounter (Plutarch, Quaest. Gr. 293c; De Defectu Oraculorum 418a).
The cultural significance of the theatre is further attested by inscriptions dating from 272-269 BCE and 227-226 BCE, which mention artists from throughout Greece performing at the venue. An especially important historical note comes from an inscription recording the restoration of the theatre by Eumenes II of Pergamum in 160 BCE (SIG 23, 671, B, 12), demonstrating the ongoing patronage and maintenance of this important cultural space (Sear 395).
The theatre’s ongoing importance into the Roman period is evidenced by a Senatusconsultum (decree of the Roman Senate) from 112 BCE mentioning various actors from the Peloponnese who performed there. Pausanias, writing in the 2nd century CE, specifically mentions the theatre as “worth seeing” in his Description of Greece (10.32.1), confirming its continued significance as a monument well into the Imperial Roman period (Gogos 330).
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: 38.48246, 22.50053
- Orientation: The theatre faces southeast
- Position: Located on a terraced area above the Temple of Apollo
- Topographical details: Built against the natural slope of Mount Parnassus, utilizing the hillside for support of the cavea (seating area) (Sear 395)
Cavea (seating area):
- Diameter: 52 meters
- Structure: The cavea (seating area) slightly exceeds a semicircle and is enclosed at the sides by rectilinear walls
- Division: The ima cavea (lower section) consists of 28 rows arranged in 7 cunei (wedge-shaped sections)
- Separation: A praecinctio (horizontal walkway) with a width of 1.60 meters separates the ima cavea from the summa cavea
- Summa cavea (upper section): 7 rows arranged in 6 cunei
- Construction: Earlier theories by Anti suggesting that a structure under the cavea belonged to an earlier rectilinear theatre have been disproved (Sear 395)
- Substructures: The cavea is built directly against the hillside, utilizing the natural topography
Orchestra:
- Diameter: 18.4 meters, paved in stone
- Features: Surrounded by a passage and drain, with a width of 0.90 meters (diameter at drain measuring 14.7 meters)
- Seating arrangements: No prohedria (front row seats for dignitaries) in original design
- Renovations: In a later period, the first rows of seats were removed to create a podium with a height of 1.04 meters, likely during Roman modifications (Sear 395)
Pulpitum/Stage:
- Dimensions: 9 × 2.8 meters
- Position: Connected to the orchestra, providing the performance area for actors
- Construction: While details of specific construction materials are limited in Sear’s account, the stage would have been an elevated platform from which actors performed (Sear 395)
Scaenae Frons (decorative scene building front:
- Total structure: The scene building measures 20 × 9 meters, including the stage and paraskenia (side wings)
- While Sear does not provide detailed information about the scaenae frons (stage backdrop) height, architectural order, or decorative elements, archaeological remains suggest it followed typical Hellenistic theatre design conventions (Sear 395)
Access Points:
- Parodoi (side entrances): Width of 4 meters, providing access to the orchestra level
- The theatre likely featured typical circulation patterns with stairways dividing the cunei, though specific details of vomitoria (access passageways) are not explicitly documented (Sear 395)
Current Status
Today, the Theatre of Delphi stands as one of the best-preserved ancient theatres in Greece. The cavea remains largely intact, with many original stone seats still in place. The location continues to offer visitors the same spectacular views of the Pleistos Valley and the Gulf of Corinth that ancient spectators would have enjoyed.
The site is fully accessible to visitors as part of the Archaeological Site of Delphi, which has been designated a UNESCO World Heritage Site since 1987. This designation recognizes the exceptional universal value of Delphi as one of the most important religious and cultural centers of the ancient Greek world.
Conservation efforts are ongoing, with periodic restoration work undertaken to stabilize the ancient structure and prevent further deterioration. The most significant recent conservation project focused on addressing structural issues in the retaining walls and improving visitor pathways for safety.
While the theatre no longer hosts regular performances, special cultural events are occasionally permitted at the site. These events are carefully managed to prevent damage to the ancient structure while allowing for a limited revival of its original function as a performance space.
Renovations / Excavations
Renovations
The Theatre of Delphi underwent several phases of renovation and modification throughout its history. The epigraphic evidence provides important chronological markers for these interventions:
The earliest documented renovation comes from an inscription recording the restoration work commissioned by Eumenes II of Pergamum in 160 BCE (Sear 395).
The Roman period brought significant modifications to the theatre’s structure, as evidenced by archaeological remains. The removal of the first rows of seats to create a raised podium (height 1.04 meters) represents a typical Roman adaptation of Greek theatres, bringing performances closer to the audience and creating a more intimate performance space. This modification likely dates to the 1st or 2nd century CE, when Roman architectural influence became more pronounced throughout Greece (Sturgeon 229).
Inscriptional evidence from the Roman period, including Greek inscriptions found on some seats in the second cuneus from the east, suggests continued use and possible modifications during the Roman Imperial period (Valmin 184). An inscription from the 3rd century CE (Fouilles de Delphes, 3/1. 469) mentions a dancer, while another (Fouilles de Delphes, 3/1. 226) references performances by a tight-rope walker, an acrobat, and a rope-dancer. These inscriptions indicate a diversification of the types of performances hosted at the theatre during the Roman period, possibly reflecting changing tastes and cultural practices (Robert 435).
Archaeological Excavations
The Theatre of Delphi was excavated primarily by the French School at Athens, following a complex international competition for excavation rights. The French interest began in 1860 when Paul Foucart uncovered part of the polygonal wall, and intensified when he became Director of the French School in 1879. This put them in competition with both the Archaeological Society in Athens and the Archaeological Institute of America.
The excavation rights became entangled with international politics and trade agreements. Greek Prime Minister Tricoupis strategically linked the Delphi concession with a commercial treaty regarding French import duties on Greek currants. Meanwhile, Charles Eliot Norton of the AIA launched a fundraising campaign in America, with Greek officials suggesting that $50,000 would secure American excavation rights.
The French ultimately prevailed with Théophile Homolle directing the first major excavations in the 1890s. Albert Tournaire’s detailed architectural drawings, published in 1902, provided crucial documentation of the theatre’s condition. Subsequent research refined our understanding:
- C. Anti’s 1940s theory about a supposed trapezoidal odeon under the cavea was later disproven
- Hansen and Algreen-Ussing produced updated plans in the 1970s
- Mary Sturgeon’s work contributed to understanding the architectural decoration
- Extensive epigraphic evidence has been analyzed by scholars like Louis Robert
Excavation work for archaeological investigation and conservation at the sanctuaries of Delphi continues to the present day, carried out by the Greek Archaeological Service in cooperation with the French School of Athens.
According to UNESCO, “Works for the upgrade of the archaeological site (improvement of visitors’ facilities, better access to visitors with disabilities, protection and restoration of the monuments themselves) are being carried out.”
The work in recent years has been more on the preservation, accessibility, and presentation of existing discoveries rather than new excavations.
Bibliography / Resources:
Hansen, E. and G. Algreen-Ussing. Fouilles de Delphes, 2: Atlas. Paris, 1975.
Homolle, Théophile. “Topographie de Delphes.” Bulletin de Correspondance Hellénique, vol. 21, 1897, pp. 256-63.
Pausanias. Description of Greece. Translated by W.H.S. Jones, Loeb Classical Library, Harvard University Press, 1918.
Plutarch. Moralia. Translated by Frank Cole Babbitt, Loeb Classical Library, Harvard University Press, 1936.
Robert, Louis. “Inscriptions de Delphes.” Revue des Études Grecques, vol. 42, 1929, pp. 433-8.
Sear, Frank. Roman Theatres: An Architectural Study. Oxford University Press, 2006.
Sturgeon, Mary. “The Sculptural Program of the Theater at Delphi.” American Journal of Archaeology, vol. 82, 1978, pp. 226-35.
Tournaire, Albert. Fouilles de Delphes, 2. Paris, 1902.