Olisipo (modern Lisboa, Portugal)

ca 27 CE

Cavea Width: 78 meters
Orchestra Width: 14 meters

Summary: Teatro Romano de Olisipo; Lisbon, Portugal; 80m cavea width; unknown number of rows divided into 4 cunei in ima cavea; south-facing; 3,000-4,000 seating capacity; 17.80-18.00m orchestra diameter; Augustan period (27 BCE-14 CE) with Neronian embellishments; ruins include lowest rows of seats, orchestra, and hyposcaenium, with proscaenium largely robbed of materials. Source: Sear, F. (2006). Roman Theatres: An Architectural Study, p. 265.

Teatro Romano de Olisipo

Introduction

The Roman Theatre of Olisipo is located in modern-day Lisbon, Portugal, at coordinates 38°42’30″N, 9°08’00″W, on the southern slope of the city’s castle hill (São Jorge). Situated approximately 50 meters north of Lisbon Cathedral, the theatre occupies a prominent position within what was the central administrative area of Roman Olisipo (Hauschild 32). Built into the natural hillside with a view toward the Tagus River, the theatre was part of a monumental complex that likely included other public buildings, though these remain largely unexcavated beneath the medieval Alfama district (Fernandes 30). The structure’s position follows Vitruvian principles for theatre placement, taking advantage of the natural topography for acoustic benefits and scenic views (Almeida 298).

History

Constructed during the Augustan period (27 BCE-14 CE), the theatre represents part of the monumental development of Olisipo after it received municipium status as Felicitas Julia Olisipo (Fabião 45). The city had been fortified by the Romans as early as 138 BCE, but significant architectural development came later with imperial patronage. Epigraphic evidence indicates substantial Neronian embellishments during his reign (54-68 CE), documented in the inscription CIL 2.183 = ILS 5640, which mentions imperial sponsorship (Sear 265). The theatre likely remained in use until the late 3rd or early 4th century CE, following the typical pattern of Roman theatrical structures in Hispania, where gradual abandonment corresponded with changes in entertainment preferences and economic conditions (Diogo and Sepúlveda 155). Primary historical sources are limited, but the theatre’s importance is contextualized within Strabo’s descriptions of Lusitanian settlements and their integration into Roman provincial administration (Fabião 48).

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:

The theatre is positioned at coordinates 38°42’30″N, 9°08’00″W, facing south toward the Tagus River. It occupies a central position within the ancient urban core of Olisipo, built against the natural slope of the hill in accordance with Roman architectural practices for theatrical structures. The topographical setting allowed for natural support of the cavea (seating area) structure while providing optimal views and acoustics (Sear 265).

Cavea:

The cavea has a diameter of approximately 80 meters, with the ima cavea (lower seating section) divided into 4 cunei (wedge-shaped sections). While the exact seating capacity remains undetermined due to incomplete preservation, comparative analysis with similar provincial theatres suggests approximately 3,000-4,000 spectators (Fernandes 33). Construction techniques include building directly against the hillside with some curved supporting walls. Archaeological investigations have uncovered a vomitorium (access corridor) on the east side of the cavea, indicating a typical Roman circulation system for audience movement (Sear 265).

Orchestra:

The orchestra (semicircular performance space between stage and seating) has a diameter of 17.80-18.00 meters and was paved with polychrome marble, fragments of which have been recovered during excavations (Hauschild 351). No evidence of a central altar has been documented, though this was common in many Roman theatres. The orchestra likely remained unchanged throughout the theatre’s use, though some scholars suggest possible modifications during the Neronian renovations to accommodate changing performance traditions (Maciel 42).

Pulpitum/Stage:

The pulpitum (stage platform) measures 36 meters in length. The proscaenium (front wall of the stage) is 1.6 meters wide and 1.2 meters high, featuring 3 semicircular and 8 rectangular niches alternating in a decorative pattern. Two staircases provided access between the orchestra and stage level. The hyposcaenium (understage area) is partially preserved, though no evidence of stage machinery has been conclusively identified (Sear 265).

Scaenae Frons:

The scaenae frons (elaborate architectural backdrop) is poorly preserved, with only foundations and architectural fragments remaining. Recovered elements include Ionic and Corinthian columns and capitals, suggesting a multi-story design typical of imperial-period theatres. The exact height and number of doorways remain uncertain, though the standard Roman arrangement of three doorways (one central valva regia and two lateral hospitalia) can be reasonably assumed based on comparable provincial examples (Hauschild 358).

Decoration:

Notable decorative elements include a sculpture of a sleeping Silenus and a fragment of a relief depicting Melpomene (the muse of tragedy), indicating a typical theatrical iconographic program. The orchestra featured polychrome marble paving in geometric patterns, though the specific design is not fully documented. The inscription CIL 2.183 = ILS 5640 provides evidence of imperial patronage during renovations. Much of the original decorative program has been lost due to post-abandonment stone robbing (Sear 265).

Access Points:

The aditus maximi (main entrance passages) measure 2.50 meters in width and connect the exterior to the orchestra level. At least one vomitorium has been identified on the east side of the cavea, providing access to the seating sections. The ima cavea’s division into four cunei suggests corresponding access points and circulation patterns, though complete documentation of these elements is lacking due to the limited extent of excavation (Almeida 302).

Renovations

The primary renovation phase occurred during Nero’s reign (54-68 CE), as documented by the inscription CIL 2.183 = ILS 5640. These embellishments likely included decorative enhancements to the scaenae frons and possibly modifications to the stage area, reflecting the emperor’s well-known interest in theatrical performances (Maciel 45). The exact scope of these renovations remains debated among scholars, with some suggesting substantial architectural changes while others propose primarily decorative updates (Fernandes 35). No evidence exists for later significant renovations, suggesting the theatre maintained its Neronian form until abandonment.

Archaeological Excavations

The theatre was accidentally discovered in 1798 following reconstruction work after the 1755 Lisbon earthquake, with drawings documenting the proscaenium before it was largely robbed of materials (Hauschild 348). Systematic excavation began only in 1964 under Fernando de Almeida, with major campaigns including:

• 1964-1967: Initial scientific documentation establishing the basic layout
• 1989-1993: Expanded excavation area under Theodor Hauschild, documenting the eastern portions
• 2001-2006: Conservation work and museum establishment led by Lídia Fernandes
• 2009-2013: Investigation of the stage building and hyposcaenium (Fernandes 29)

Approximately 30% of the original structure has been uncovered, with the remaining portions likely beneath medieval and modern buildings of the Alfama district. Key findings include architectural fragments, decorative elements, and numerous ceramic artifacts including oil lamps used during performances (Diogo and Sepúlveda 157).

Current Status

The theatre is preserved in a fragmentary state, with the lowest rows of seats, orchestra, and much of the hyposcaenium surviving. The proscaenium, documented in drawings from 1798, has been largely robbed of materials. The site is protected as a Monumento Nacional (National Monument) and is managed by the Museu de Lisboa. A small museum (Museu do Teatro Romano) displays excavated artifacts and interpretive materials. The site is open to visitors, though accessibility is limited due to the steep terrain. Conservation efforts focus on addressing humidity issues and structural stability within the urban environment. While not individually designated as a UNESCO site, the theatre is considered an important element within Lisbon’s historic district (Fernandes 36).

Bibliography / Resources:

Almeida, Fernando de. “O Teatro Romano de Lisboa.” Revista de Guimarães, vol. 76, 1966, pp. 295-312.

Diogo, A.M.D., and Eurico Sepúlveda. “As lucernas do Teatro Romano de Lisboa.” Revista Portuguesa de Arqueologia, vol. 4, no. 1, 2001, pp. 153-161.

Fabião, Carlos. “A cidade romana de Olisipo, Lisboa.” Revista de História da Arte, vol. 4, 2007, pp. 44-53.

Fernandes, Lídia. “Teatro Romano de Lisboa: os caminhos da descoberta e os percursos da investigação arqueológica.” Al-Madan, vol. 15, 2007, pp. 28-39.

Hauschild, Theodor. “Das römische Theater von Lissabon.” Madrider Mitteilungen, vol. 31, 1990, pp. 348-392.

Maciel, M. Justino. “A propósito do Teatro Romano de Lisboa.” Revista Cultural Lusíada, vol. 8, 1994, pp. 37-56.

Mantas, Vasco Gil. “Os Ludi no contexto da política romana nas Hispânias.” Conimbriga, vol. 53, 2014, pp. 29-56.

Romanos. Comisión organizadora del Bimilenario de Zaragoza, 1976, pp. 217-24.

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

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