Italica (Modern Santiponce, Seville, Spain)

Early 1st century CE

Cavea Width: 76 meters
Orchestra Width: 31 meters

The Roman theatre at Italica (Santiponce, Spain) measures 75.76m in diameter, with approximately 25 rows divided into ima cavea (14 rows in 4 cunei), media cavea (7 rows), and summa cavea (4 rows); faces east-northeast; accommodated 3,400-4,200 spectators (Sear 362). The orchestra spans 25.4m, marble-paved, surrounded by a 1m wall with three steps for dignitary seating (Sear 361). Initially constructed in the early 1st century CE, it received marble embellishments in the Tiberian period, with the northern cavea renewed and a new scene building added during Flavian times, followed by Hadrianic-era additions including a quadriporticus with an Isis temple (Sear 362). Today, the cavea is fully excavated, the orchestra well-preserved, and the scene building partially reconstructed in 1992 (Sear 362).

The ancient Roman theatre at Italica (modern Santiponce)

The theatre is situated approximately 9 kilometers northwest of Seville in the Andalusia region of Spain. Located at GPS coordinates 37.44001, -6.03873, the theatre occupies a strategic position on the eastern side of the hill of San Antonio within the old quarter of the ancient city (Sear 361).

The theatre forms part of a complex that includes a nearby quadriporticus (columned courtyard) and a temple dedicated to the Egyptian goddess Isis, reflecting the cosmopolitan religious practices of the Roman Empire during the imperial period (Sear 362). 

Historical Context

Founded as a settlement for wounded Roman soldiers following the Second Punic War, Italica gained prominence during the early imperial period and reached its zenith under Emperor Hadrian, who was born in the city and elevated it to colonial status (Jiménez 280). The theatre’s construction in the early 1st century CE coincided with a period of prosperity and romanization throughout Hispania (Sear 362).

The city gained particular significance as the birthplace of not only Emperor Hadrian but also potentially Emperor Trajan, making it one of the few provincial cities to produce multiple emperors (Luzón Nogué 184). This imperial connection likely contributed to the city’s development and the subsequent enhancements to the theatre during the 1st and 2nd centuries CE.

Archaeological evidence from inscriptions suggests the theatre hosted not only dramatic performances but also served as a venue for imperial celebrations and local political gatherings, reinforcing its role as a space where Roman cultural identity was performed and reinforced in this provincial setting (Corzo Sánchez 161).

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

• Orientation: East-northeast facing, utilizing the eastern slope of San Antonio hill
• Positioned within the older quarter of Italica, contrasting with the Hadrianic “nova urbs” (new city) expansion
• Integrated with a quadriporticus and religious structures, forming a cultural complex

Cavea (seating area)

• Diameter: 75.76 meters
• Estimated capacity: 3,400-4,200 spectators (Sear 362)
• Division into three horizontal sections:
  • Ima cavea (lowest section): Approximately 14 rows divided into 4 cunei (wedge-shaped sections)
  • Media cavea (middle section): Approximately 7 rows
  • Summa cavea (highest section): Approximately 4 rows
• Construction materials: Local stone for substructures; marble facing for privileged seating areas
• Corinthian capitals and column fragments discovered, likely from the summa cavea porticus (covered walkway)

Orchestra (performance space between audience and stage)

• Diameter: 25.4 meters (outer), 22.71 meters (at surrounding wall)
• Paved in marble, indicating high-status embellishment
• Surrounded by a wall approximately 1 meter in height
• Featured three steps for bisellia (ceremonial seats for dignitaries) with inner diameter of 17.21 meters
• Marble ornamentation dates to the Tiberian period (14-37 CE), suggesting an early renovation phase

Pulpitum (stage)

• Length: 49.65 meters
• Width: 6.82 meters (9.41 meters in central section, 11.41 meters overall)
• Featured an aulaeum (stage curtain) system with 6 mast holes identified
• Connected to the orchestra via the proscaenium wall (front of stage)

Proscaenium (front of stage structure)

• Width: 2.00 meters
• Height: Approximately 1.00 meter
• Decorated with 7 niches alternating between rectangular and curved forms
• Likely adorned with colored marbles and statuary (Corzo Sánchez 163)

Hyposcaenium (area beneath the stage)

• Two altars dedicated to M. Lucretius Julianus (209-211 CE) discovered here
• Altars pierced for pivots, possibly repurposed as supports for periaktoi (rotating triangular prisms used as scene-changing devices)

Scaenae Frons (decorative scene house front)

• Rectilinear design with three doorways:
  • Central regia (royal door): 1.66 meters wide
  • Two hospitalia (guest doors): 1.66 meters wide each
• Two-story columnatio (column arrangement) with podia for 18 columns
• Mid-2nd century CE Corinthian capital discovered, indicating continued embellishment
• Postscaenium (rear stage area) featured four pairs of semicircular recesses (2.3 meters by 1.15 meters) flanking three doorways

Quadriporticus (columned courtyard)

• Located behind the theatre
• Featured columns approximately 7 meters in height
• Contained a temple dedicated to Isis at its center, integrating religious practice with theatrical entertainment

Access and Circulation

• Five entrances identified in the outer wall of the cavea
• Ima and media cavea accessed directly from the hill of San Antonio
• Summa cavea and porticus supported by annular and radial walls, creating covered passageways beneath
• Likely featured vomitoria (entrance/exit passageways) though specific details remain unclear in the archaeological record

Current Status

The Roman theatre at Italica is currently part of the Archaeological Ensemble of Italica, managed by the Andalusian regional government (Junta de Andalucía). The site’s condition reflects both its long history and contemporary conservation efforts:

Preservation Condition

• Cavea: Fully uncovered with visible seating divisions, though with significant weathering of original surfaces
• Orchestra: Well-preserved with visible marble paving, though incomplete
• Scene building: Partially rebuilt during 1992 restoration work
• Structural stability: Generally good, with ongoing monitoring for erosion and weathering issues

Conservation Efforts

• Regular maintenance program to address vegetation growth and erosion
• Controlled visitor access to minimize impact on fragile areas
• Partial anastylosis (reconstruction using original elements) of selected architectural components
• Implementation of drainage systems to prevent water damage

Heritage Status

• The Archaeological Ensemble of Italica, including the theatre, was placed on Spain’s Tentative List for UNESCO World Heritage status in 2018
• Currently protected under Spanish national heritage legislation as a Bien de Interés Cultural (Property of Cultural Interest)
• Recognized as one of the most significant Roman theatrical monuments in Hispania
• Integrated into regional cultural tourism development initiatives

Renovation History

Initial Construction (Early 1st century CE)

• Original theatre was constructed, taking advantage of the natural hillside
• Basic Roman theatre design implemented with local materials

Tiberian Renovation (14-37 CE)

• Orchestra embellished with marble paving
• Likely coincided with broader civic improvements under Emperor Tiberius

Flavian Renovation (69-96 CE)

• Northern part of the cavea renewed with structural improvements
• New scaenae frons (scene building) constructed

Hadrianic and Early Antonine Modifications (117-150 CE)

• Terrace constructed at the top of the cavea
• Quadriporticus developed behind the theatre

Later Modifications (Late 2nd-Early 3rd century CE)

• The discovery of altars dedicated to M. Lucretius Julianus (209-211 CE) in the hyposcaenium suggests continued use and possible modifications during the Severan period

Archaeological Research

Archaeological investigation of the Italica theatre represents over a century of evolving methodologies and interpretations:

Early Explorations (Late 19th-Early 20th century)

• Initial identification and preliminary excavations
• Limited documentation by early standards
• Focus primarily on recovery of sculptural elements and inscriptions

García y Bellido Campaign (1950s)

• More systematic excavation under Antonio García y Bellido
• Publication of findings in “Colonia Aelia Augusta” (1960)
• Established basic chronology and architectural understanding
• Limited by methodological constraints of the period

Luzón Nogué Investigations (1970s)

• José María Luzón Nogué conducted significant excavations
• Published findings in Bellas Artes (1973) and subsequent works
• Improved stratigraphic understanding of the site
• Clarified construction phases and chronology

Modern Excavations and Studies (1980s-1990s)

• Alfonso Jiménez published comprehensive study in “Italica” (1982)
• Ramón Corzo Sánchez directed extensive investigations
• Publication of “El Teatro de Italica” (1992) providing detailed architectural analysis

Recent Research and Restoration (1990s-Present)

• Partial rebuilding of the scene building in 1992
• Continued conservation work on exposed elements

Bibliography / Resources:

Corzo Sánchez, Ramón. El Teatro de Italica. Granada: Patronato de la Alhambra y Generalife, 1992.

Jiménez, Alfonso. Italica (Santiponce Sevilla). Excavaciones arqueólogicas en España, 121. Madrid: Ministerio de Cultura, 1982.

Luzón Nogué, José María. “El teatro romano de Italica.” In El teatro en la Hispania romana, edited by José María Alvarez Martínez, 183-201. Badajoz: Institución Cultural Pedro de Valencia, 1982.

Rodríguez Gutiérrez, Oliva. El teatro romano de Italica: estudio arqueoarquitectónico. Madrid: Universidad Autónoma de Madrid, 2004.

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

Web Resources

Conjunto Arqueológico de Itálica. Junta de Andalucía. www.juntadeandalucia.es/cultura/italica/. Accessed 24 March 2025.

“Roman Theatre of Italica.” Patrimonio Histórico de Andalucía. https://guiadigital.iaph.es/bien/inmueble/17547/sevilla/santiponce/teatro-romano-de-italica. Accessed 24 March 2025.

Turismo de Sevilla. “Archaeological Ensemble of Italica.” www.visitasevilla.es/en/italica. Accessed 24 March 2025.

UNESCO. “Archaeological Ensemble of Italica.” UNESCO World Heritage Centre Tentative Lists. https://whc.unesco.org/en/tentativelists/6389/. Accessed 24 March 2025.