Malica (modern Málaga, Spain)

ca. mid 1st century CE.

Cavea Width: 65 meters
Orchestra Width: 23 meters

The Roman theatre at Malaca (modern Málaga, Spain) has a cavea width of 64.5 m with distinct seating sections: the ima cavea containing 14 rows arranged in 4 cunei, and a summa cavea estimated at 6-7 rows. Capacity: ?2000. The theatre faces west-northwest, with the lower cavea built on the natural slope of the hill. Seating capacity is not specified in Sear’s study. The orchestra measures 22.5 m in diameter and is paved in opus sectile. Construction dates to the mid-1st century CE, with the theatre being abandoned at the end of the 3rd century CE. Currently, most of the cavea has been uncovered along with the south end of the scene building, and the site has been incorporated into the Roman Theatres of Andalusia circuit (Sear 262-263).

Malaca Roman Theatre, modern Málaga, Spain

Introduction

The Roman theatre of Malaca, located in modern-day Málaga, Spain (GPS coordinates: 36.72119, -4.41689), stands as one of the most significant vestiges of Roman presence in the city. The theatre is situated on the northern face of the hill where the Alcazaba or Moorish citadel was later built, with the structure taking advantage of the natural incline of the hillside for support of its cavea (seating area) (AAII.CC.).

Within the ancient city of Malaca, the theatre occupied a central position in the heart of what is now the historic quarter. Archaeological evidence suggests that the theatre may have been positioned near the forum, although this relationship is not definitively established (Sear 262). The theatre’s placement follows the typical Roman urban planning principle of positioning important public buildings in central, accessible locations to maximize their political and cultural impact.

Historical Context

Construction of the Malaca theatre dates to the mid-1st century CE according to epigraphic evidence, coinciding with the early imperial period when theatres were being built across Roman territories as vehicles for imperial propaganda (Sear 263; AAII.CC.). The theatre’s construction occurred during a period when Malaca was transitioning from its Phoenician and Punic heritage toward greater integration with Roman culture, though archaeological evidence shows that the city maintained aspects of its eastern urban layout and culture well into the Roman period (AAII.CC.).

Notably, Malaca achieved the status of municipium under Emperor Vespasian (r. 69-79 CE), which likely contributed to the development of its public architecture (Sear 262). This administrative promotion would have necessitated the appropriate public buildings to house municipal functions and express the city’s newly elevated status.

The cultural significance of the theatre extended beyond mere entertainment. As noted in the AAII.CC. report, Roman theatres served as “both an entertainment venue and a political stage, the ideal public setting for driving home the idea of Roman authority and social hierarchy.” The careful arrangement of spectators in the cavea reflected the structure of Roman society, with each person’s seating assignment corresponding to their social class and role (AAII.CC.).

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 and positioning: The theatre faces west-northwest (Sear 262)
• Topographical details: Built on the northern slope of the hill where the Alcazaba was later constructed, with the lower cavea resting directly on the natural incline (AAII.CC.; Sear 262)
• GPS: 36.72119, -4.41689

Cavea (seating area)

• Diameter and estimated capacity: 64.5 meters in diameter (Sear 262); capacity ?2000.
• Seating divisions:
  • Ima cavea (lower section): 14 rows of seats (0.40 × 0.80 meters each) arranged in 4 cunei (wedge-shaped sections)
  • Media cavea (middle section): Present but dimensions not specified (AAII.CC.)
  • Summa cavea (upper section): Estimated 6 or 7 rows, though no physical traces remain except for the steps that once led to this section (Sear 262; AAII.CC.)
• Construction materials and techniques: Not specified in sources, but likely stone based on standard Roman theatre construction practices
• Support structures and access:
  • Lower cavea built directly on the natural slope of the hill
  • Upper section contained within a thick outer wall
  • Five radial passageways lead to the praecinctio (horizontal walkway) at the top of the ima cavea
  • Staircases branch off from the praecinctio, running up to the top of the summa cavea
  • Aditus maximi (main entrances): Width of 2.25 meters recorded for the southern entrance (Sear 262)

Orchestra (performance space between audience and stage)

• Dimensions, shape, and materials:
  • Diameter: 22.5 meters
  • Paved in opus sectile (inlaid marble pieces forming geometric patterns)
  • Surrounded by a wall (diameter at wall: 19.8 meters) with 3 steps (inner diameter: 14.16 meters) (Sear 262)
• Special features and modifications:
  • Richly decorated with massive marble slabs that extended into the vaulted side corridors
  • Select spectators (usually prominent citizens) could sit on marble seats, one of which is preserved at the theatre (AAII.CC.)

Pulpitum (stage)

• Dimensions and construction details:
  • Length: 37.5 meters
  • Width: 6.00 meters to the scaenae frons (7.90 meters including the proscaenium wall) (Sear 262)
• Stage machinery: Not specified in sources
• Connection to orchestra:
  • Proscaenium (front of stage): Width 1.90 meters, height not specified
  • Features a curved central niche flanked by 2 staircases, 2 more curved niches, and 2 pairs of rectangular niches (Sear 262)

Scaenae Frons (decorative scene house front)

• Architectural order and design:
  • Southern hospitalium (side entrance) niche was curved with a pair of column bases (1.44 meters square)
  • All three niches (including the valva regia or central door) were probably curved (Sear 262)
• Doorways and stories:
  • Would have had three doors according to standard architectural practice: the valva regia in the middle and two valvae hospitalium symmetrically flanking the central doorway (AAII.CC.)
• Decorative elements:
  • The scaenae frons would have been embellished with openings, columns, and images of emperors, imperial family members, and principal deities of the city (AAII.CC.)

Ornamentation

• Materials and sculptural programs:
  • Two statues of Attis (a deity associated with the cult of Cybele) and a large silver patera (ceremonial dish) were found at the site (Sear 263)
  • Marble was used extensively in the orchestra area and likely in other decorative elements

Access and Circulation

• Entrances, exits, and vomitoria (passage ways): Five radial passageways led to the praecinctio at the top of the ima cavea (Sear 262)
• Stairways and special areas:
  • Staircases branched off from the praecinctio, running up to the top of the summa cavea
  • Tribunalia (box seats) would have been positioned over the covered corridors or itinera for distinguished spectators (AAII.CC.)
  • The proedria (front row seats) in the orchestra were reserved for municipal magistrates, priests, and honored guests (AAII.CC.)

Current Status

According to AAII.CC.  the theatre has “recovered its original function as part of the Roman Theatres of Andalusia circuit, an initiative that shines a spotlight on these ancient theatres and their associated archaeological sites.” This initiative aims to revive and celebrate the Roman past while supporting the Andalusian network of professional performing artists.

The physical preservation condition shows that “most of the cavea [has been] uncovered and [the] south end of [the] scene building” remains visible (Sear 263). The creation of a Visitors’ Centre for the Roman Theatre has enhanced the presentation and interpretation of the site for the public. Additionally, the pedestrianization of Calle Alcazabilla has created “a broad esplanade in front of the monument,” improving the visibility and spatial connection of the ruins with the immediate surroundings and establishing “itineraries and privileged viewpoints from which to admire this fascinating piece of history” (AAII.CC.).

Conservation efforts appear to focus on both preserving the physical remains and revitalizing the theatre’s original function through cultural programming. The theatre now hosts performances as part of the broader initiative to celebrate Andalusia’s Roman theatrical heritage.

Renovation History

The theatre was built in the mid-1st century CE, possibly replacing a public bathhouse from the same century that was demolished to make way for the theatre (AAII.CC.; Sear 263). The inscription in the orchestra dates from the Flavian period (69-96 CE), suggesting possible modifications or embellishments during this time, though it is carved over an earlier inscription (AAII.CC.).

The theatre remained in use until the late 3rd century CE when it was abandoned (Sear 263). After abandonment, the site underwent significant repurposing rather than renovation:

• Late 3rd century CE: Establishment of a factory for processing salted fish and manufacturing fish-based sauces
• 5th century CE: Salting vats began to be used as graves, and the site became a necropolis
• Byzantine period: Return of commercial prosperity to the area
• 7th century CE: End of the Byzantine commercial boom
• Post-711 CE (Muslim conquest): Construction of a military enclosure and mosque on the site (AAII.CC.)

In modern times, the site has undergone archaeological recovery and conservation rather than renovation. The decision to tear down the Cultural Centre (Casa de la Cultura) that had been built over part of the scene building allowed for the recovery of the theatre ruins. This modern intervention created a broad esplanade in front of the monument and established a Visitors’ Centre, enhancing the visibility and spatial connection of the ruins with the surrounding area (AAII.CC.).

Archaeological Research

The Roman theatre of Malaca was discovered by accident in 1951 when construction work on the new Cultural Centre revealed part of the ruins (AAII.CC.). This discovery is documented by J. Martínez Santa-Olalla in the first volume of “Revista de Estudios Clásicos” from 1951 (Sear 263).

Subsequent archaeological work on the site has been conducted through various campaigns, though the specific details and timelines of these campaigns are not fully outlined in the provided sources. The bibliography in Sear’s work suggests ongoing interest and research from the 1950s through the 1980s:

• A. Rubio-Argüelles y Alessandri published findings in “Anales de la Associación Española para el Progreso de las Ciencias” (1956)
• M. Casamar presented work at the VII National Congress of Archaeology in Barcelona (1961)
• M. V. Campos Rojas published in the journal “Jabega” (1975)
• M. F. González Hurtado de Mendoza and M. Martín de la Torre produced “Historia y reconstrucción del teatro romano de Málaga” (1983)
• P. Rodríguez Oliva contributed to “Teatros romanos” (publication date not specified) (Sear 263)

Bibliography / Resources:

Agencia Andaluza de Iinstituciones Culturales, AAII.CC. “The Roman Theatre of Malaga.” Department of Culture and Sport of the Andalusian Government,
https://www.juntadeandalucia.es/cultura/aaiicc/sites/default/files/aaiicc/
folleto_teatro_romano_malaga_web_ing.pdf.

Casamar, M. “VII Congreso Nac. de Arq. Barcelona 1961.” Zaragoza, 1962, pp. 76-78.

Campos Rojas, M. V. “Jabega.” vol. 2, Sept. 1975, pp. 34-41.

González Hurtado de Mendoza, M. F., and M. Martín de la Torre. “Historia y reconstrucción del teatro romano de Málaga.” Málaga, 1983.

Martínez Santa-Olalla, J. “Revista de Estudios Clásicos.” vol. 1, 1951, pp. 217-218.

Rodríguez Oliva, P. “Teatros romanos.” pp. 183-194.

Rubio-Argüelles y Alessandri, A. “Anales de la Associación Española para el
Progreso de las Ciencias.” vol. 21-22, 1956, pp. 282-290.

Sear, Frank. “Roman Theatres: An Architectural Study.” Oxford University Press, 2006, pp. 262-263.