Halicarnassus (Modern Bodrum, Turkey)

2nd Century BCE

Cavea Width: 86 meters
Orchestra Width: 18 meters

Halicarnassus Theatre (Modern Bodrum, Turkey) 

The Theatre at Halicarnassus; Bodrum, Turkey; cavea width approximately 86 m; ima cavea with 30 rows in 11 cunei and summa cavea with 14 rows in 22 cunei, separated by a praecinctio with podium wall; facing south and exceeding a semicircle; capacity 10,000-13,000 spectators; orchestra diameter unspecified, featuring an altar at edge; constructed in late 2nd century BCE, enlarged in 2nd century CE; well-preserved cavea with only lowest courses of scene building remaining (Sear 337). Hellenistic proscaenium had 14 piers with Doric half-columns, later spaces walled up during Roman period. Stage measured 26.25 m in length with width of 2.5-3.6 m; scene building 34.9 m long with several rooms and architectural façade for scaenae frons. Rock-cut substructures supported the cavea, utilizing the natural hillside for stability (Sear 337).

Halicarnassus Theatre (Modern Bodrum, Turkey)

Introduction

The Theatre at Halicarnassus, located in modern-day Bodrum on Turkey’s southwestern coast on the southern slope of Göktepe hill (GPS: 37.0404, 27.42181) The theatre faces south and provides a panoramic view extending across the city to Kos Island and the Datça Peninsula.

Historical Context

The original construction of the Theatre at Halicarnassus is generally attributed to the reign of the Carian Satrap Mausolos during the 4th century BCE (Sear 337). Mausolos, who ruled from approximately 377 to 353 BCE.

Archaeological evidence, however, has led to some scholarly disagreement about the precise dating of the theatre’s initial construction. While some archaeologists attribute it directly to Mausolos in the mid-4th century BCE, others argue that the Hellenistic theatre was built either in the first half of the 3rd century BCE or in the late 2nd century BCE (tuerkei-antik.de). This uncertainty highlights the complex phasing of the structure and the potential existence of earlier performance spaces on the site.

The theatre underwent significant expansion during the Roman period, particularly in the 2nd century CE, when it was enlarged to accommodate the growing population and changing entertainment preferences of the Roman Empire (Wikipedia). By the 3rd century CE, the structure had been adapted for gladiatorial contests and wild animal hunts (venationes), reflecting the evolution of public entertainment under Roman influence.

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.

Cavea (seating area)

The south facing cavea has a diameter of approximately 86 meters (280 feet), according to measurements recorded by Beaufort and cited by Sear. The seating area extends beyond a semicircle, following the Greek tradition rather than the Roman preference for semicircular cavea designs. Archaeological evidence reveals that the ima cavea (lower section) contained 30 rows arranged in 11 cunei (wedge-shaped sections), with the top row featuring backed seats for more distinguished spectators. A praecinctio (horizontal walkway) with a podium wall separated the ima cavea from the summa cavea (upper section), which comprised 14 rows divided into 22 cunei. This arrangement demonstrates the social stratification typical of Roman theatre architecture, with the best seats reserved for the elite.

The cavea’s substructures were rock-cut, utilizing the natural hill to support the massive seating area. This technique, common in Greek theatre construction, was economical and provided natural stability. The theatre’s seating capacity is estimated to have been between 10,000 and 13,000 spectators at its height (Turkish Museums); current seating capacity of approximately 3,100-4,000 people (Nomadic Niko).

During recent excavations, it was discovered that some seats bear inscriptions of names, potentially identifying benefactors who contributed to the theatre’s construction or renovation (Bodrum Life).

Orchestra (performance space between audience and stage)

The orchestra (diameter ?18 meters) exceeded a semicircle in shape, aligning with the extended cavea form. During the Roman period, particularly in the 3rd century CE, the orchestra was modified to accommodate gladiatorial contests, with archaeological evidence revealing the remnants of railing plates that would have separated the audience from combatants (Turkish Museums).

Pulpitum (stage)

The stage measured 26.25 meters in length with a variable width ranging from 2.5 to 3.6 meters, creating a trapezoidal shape. This design allowed for optimal visibility from all sections of the cavea while providing an expansive performance area. During excavations, architectural elements revealed that the stage underwent significant modifications during the Roman period, adapting to evolving performance requirements and aesthetic preferences.

Scaenae Frons (decorative scene house front)

The scene building measured 34.9 meters in length and was divided into several rooms to accommodate performers and technical requirements. According to Sear, the scaenae frons featured an architectural façade, though he does not provide detailed descriptions of its ornamental scheme. Archaeological evidence indicates that the original stage house may have featured a two-story scaena (stage façade) from its initial construction, or at the latest by the 2nd century BCE (tuerkei-antik.de). During the Roman period, the stage was decorated with theatrical masks and bull heads, and a second floor was added to enhance the visual impact of the performance backdrop (Turkish Museums).

The proscaenium (the wall supporting the front of the stage) of the Hellenistic theatre featured 14 piers with attached Doric half-columns, reflecting the Greek architectural influence in the original design. During Roman modifications, the spaces between these columns were walled up, creating a more enclosed and visually unified stage front characteristic of Imperial Roman theatre aesthetics (Sear 337).

Access and Circulation

The theatre’s design incorporated sophisticated circulation systems to manage the movement of large audiences. The division of the cavea into numerous cunei, separated by radiating stairways (scalaria), facilitated efficient ingress and egress. The praecinctio between the ima and summa cavea served as both a status demarcation and a functional circulation corridor. While Sear does not specifically mention vomitoria (covered entrances leading directly to the cavea), the scale of the theatre would have necessitated multiple access points to accommodate the substantial audience capacity.

Current Status

Today, the Theatre at Halicarnassus stands as one of the best-preserved ancient structures in Bodrum, with the lower portion of the cavea surviving in particularly good condition. The theatre has been adapted for contemporary use while maintaining its archaeological integrity, with a current seating capacity of approximately 3,100-4,000 people (Nomadic Niko).

The site is actively managed by the Turkish Ministry of Culture and Tourism and is open to visitors throughout the year. Located adjacent to Bodrum’s main ring road to Turgutreis, the theatre is easily accessible to both locals and tourists (Bodrum Life). While not currently on the UNESCO World Heritage List, the theatre is recognized as a significant component of Turkey’s archaeological heritage and is protected under national antiquities legislation.

Beyond its archaeological significance, the Theatre at Halicarnassus continues to serve its original function as a venue for public performances. It regularly hosts cultural events, including the Bodrum International Ballet Festival and concerts by Turkish and international artists (Wikipedia). This adaptive reuse not only provides a spectacular setting for contemporary cultural activities but also maintains a living connection to the theatre’s original purpose as a center for public entertainment and artistic expression.

Ancient Modifications

The earliest significant renovation occurred during the Roman Imperial period, around the 2nd century CE, when the theatre was enlarged to accommodate a growing population and changing entertainment preferences. This expansion included modifications to the stage building, the addition of a second floor to the scaenae frons, and the installation of decorative elements including theatrical masks and bull heads (Turkish Museums). The spaces between the Doric half-columns of the Hellenistic proscaenium were walled up during this period, creating a more enclosed stage front typical of Roman theatre design (Sear 337).

By the 3rd century CE, further modifications adapted the theatre for gladiatorial contests and animal fights, including the installation of protective barriers between the orchestra and the audience (Turkish Museums). Unlike many contemporaneous structures, however, the theatre was never fully converted into a closed Roman theatre typical of the Imperial period, preserving many of its original Hellenistic features (tuerkei-antik.de).

Modern Conservation Efforts

After centuries of neglect following the decline of the Roman Empire, the first modern interventions at the theatre began in 1973 when Professor Dr. Ümit Serdaroğlu led excavation and restoration work sponsored by the Turkish Ministry of Culture and Tourism (Bodrum Life). When these excavations commenced, only a few rows of the theatre seating were visible above ground, indicating the extensive burial that had occurred over the intervening centuries (Nomadic Niko).

In 1976 and 1985, additional restoration efforts were initiated but subsequently halted due to financial constraints (tuerkei-antik.de). More sustained work resumed in 1983, when the Bodrum Museum collaborated with Professor Serdaroğlu on further excavation and restoration activities (Turkish Ministry of Culture and Tourism).

The most comprehensive modern renovation occurred between 2000 and 2003, when the Bodrum Museum of Underwater Archaeology undertook a major restoration project with corporate sponsorship from Turkcell and Ericsson companies. This work culminated in the theatre being reorganized and reopened to visitors in 2002, with a modified seating capacity of approximately 3,100 people (Turkish Museums). 

Archaeological Research

Early Investigations

While not focused specifically on the theatre, the earliest systematic archaeological work in Halicarnassus was conducted by Charles Thomas Newton between 1856 and 1857. Newton’s primary interest was the Mausoleum, but his documentation of the ancient city’s layout provided valuable context for understanding the theatre’s urban setting (Turkish Archaeological News).

Modern Excavations

The first focused archaeological excavation of the theatre was led by Professor Dr. Ümit Serdaroğlu in 1973. Serdaroğlu, who had studied classical archaeology under Ekrem Akurgal at Ankara University, conducted systematic investigations that transformed the site into an open-air museum (Bodrum Life). His work revealed the extent of the cavea and confirmed the theatre’s Hellenistic origins.

In 1983, Serdaroğlu returned to the site in collaboration with the Bodrum Museum to continue excavation and restoration efforts, further documenting the structure’s architectural features and historical phasing (Turkish Ministry of Culture and Tourism).

Between 2002 and 2003, the Bodrum Museum of Underwater Archaeology conducted the most comprehensive recent investigation of the theatre, combining archaeological research with conservation and adaptive reuse planning. This project, sponsored by Turkcell-Ericsson, documented the theatre’s architectural details and established parameters for its contemporary use (Turkish Museums).

A particularly significant discovery occurred in 2006, when excavations and cleaning works carried out by the Bodrum Museum of Underwater Archaeology revealed previously unknown tunnels and chambers carved into the soft bedrock behind the cavea (Turkish Museums). 

Bibliography / Resources:

Bean, George E. Turkey Beyond the Maeander. London: Ernest Benn, 1971.

Bodrum Life. “Bodrum’s Ancient Theatre.” October 31, 2022. https://www.bodrumlife.com/en/bodrums-ancient-theatre/

Lauter, Hans. Die Architektur des Hellenismus. Darmstadt: Wissenschaftliche Buchgesellschaft, 1986.

Leake, William Martin. Journal of a Tour in Asia Minor, with Comparative Remarks on the Ancient and Modern Geography of that Country. London: John Murray, 1824.

Nomadic Niko. “Ancient Halicarnassus (Bodrum, Turkey).” October 16, 2012. https://nomadicniko.com/2012/10/16/ancient-halicarnassus/

Pleiades. “Approximate centerpoint of the acropolis of Halicarnassus (Bodrum).” Accessed March 23, 2025. https://pleiades.stoa.org/places/599636/approximate-centerpoint-of-the-acropolis-of-halicarnassus-bodrum

Republic of Turkey Ministry of Culture and Tourism. 2024. https://mugla.ktb.gov.tr/TR-177903/bodrum-antik-tiyatro.html)

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

Turkish Archaeological News. “Mausoleum of Halicarnassus.” January 21, 2025. https://turkisharchaeonews.net/site/mausoleum-halicarnassus

Turkish Museums. “Muğla Bodrum Ancient Theater.” Accessed March 23, 2025. https://www.turkishmuseums.com/museum/detail/2195-mugla-bodrum-ancient-theater/2195/4

Wikipedia. “Theatre at Halicarnassus.” Last modified February 22, 2024. https://en.wikipedia.org/wiki/Theatre_at_Halicarnassus