Pergamon Asclepieion Theatre

Built under Emperor Hadrian (Roman Emperor from 117  to 138 CE)

Cavea Width: 71 meters
Orchestra Width: 16 meters

The Asklepieion Theatre of Pergamon; Bergama, Turkey; Roman theatre; 71 meters in diameter; 30 total rows divided into ima cavea (15 rows) and summa cavea (15 rows), each with 5 cunei separated by stairways; south-facing cavea built against a hillside with east side supported by vaulted walls; approximately 3,500 spectator capacity; semicircular orchestra measuring 15.67 meters in diameter paved with polychrome marble; constructed during Emperor Hadrian’s reign (approximately 130-140 CE) potentially over an earlier Greek structure; partially preserved with restored lower cavea and portions of the summa cavea, excavated orchestra and scene house foundations, while the lower story of the scene building has been partially restored at foundation level.

The Asclepieion Theatre at Pergamon

The Asclepieion Theatre at Pergamon is a Roman theatre built during the reign of Emperor Hadrian (117–138 CE). It is located just outside the western boundary of modern Bergama, approximately one and a half kilometers southwest of the Pergamon Acropolis. Unlike the older and more impressive Acropolis theatre, it was part of an Asclepieion complex—a healing center established by Greeks in the 4th century BCE. Although the Asclepieion is ancient, many of the ruins visible today, including the theatre, are of Roman origin (“Asklepieion of Pergamon,” Turkish Archaeological News).

The northern Asclepieion stoa leads directly to the theatre, which could accommodate approximately 3,500 spectators. The auditorium has the semicircular shape typical of Roman theatres. The theatre has been excavated and partially restored: the lower cavea appears fully repaired, while the two left cunei of the summa cavea remain unrestored. The orchestra and performance area have been excavated, revealing the foundation of the once three-story scaenae frons (“Asklepieion, Pergamon (Site),” Perseus Digital Library).

Brief History of the City

Pergamon’s strategic position in western Anatolia enabled it to develop into a significant center of Hellenistic culture and power. While evidence suggests a settlement dating back to the 8th century BCE, Pergamon emerged as a major power following Alexander the Great’s death in 323 BCE (“Pergamon,” Wikipedia). Under the Attalid dynasty, the city flourished as an independent state and continued to prosper when it peacefully passed to Roman control in 133 BCE (“Asklepieion, Pergamon (Site),” Perseus Digital Library).

The city experienced its most significant urban development during the Roman Imperial period, particularly under Emperors Trajan and Hadrian. Trajan granted Pergamon a second neocorate (official imperial cult status) in 113/114 CE, while Hadrian elevated the city to the rank of metropolis in 123 CE, positioning it above regional rivals Ephesus and Smyrna (Pirson et al. 15-18). This period witnessed an ambitious building program including massive temples, a stadium, a theatre, a forum, and an amphitheater (“Pergamon and its Multi-Layered Cultural Landscape,” UNESCO).

Brief History of the Theatre

The Asklepieion Theatre was constructed as part of Emperor Hadrian’s comprehensive renovation of the sanctuary during the first half of the 2nd century CE (approximately 130-140 CE) (Ziegenhaus and de Luca 42-47). Archaeological evidence suggests it may have been built upon the foundations of an earlier Greek structure, though the visible remains today are predominantly Roman in origin (“Asklepieion of Pergamon,” Tuerkei-antik).

The theatre’s development parallels the broader evolution of the Asklepieion sanctuary itself. According to Pausanias, the cult of Asklepios was established in Pergamon by a certain Archias in the 4th century BCE (Caneva 154-155). After being injured while hunting in the mountains near Pergamon, Archias traveled to Epidauros where he was healed, subsequently bringing the cult back to the area (Halfmann 521-523).

While the cult of Asklepios had been established in Pergamon since the 4th century BCE, initially remaining hereditary within the family of Archias, it was during the reign of Eumenes II that the sanctuary gained greater prominence (Kranz 87-90). However, it reached its architectural apex during the 2nd century CE Roman renovations, which included the construction of the theatre we examine in this analysis (Hoffmann 45-48).

Architectural Specifications

Location

• GPS coordinates: 39.11968, 27.16541
• Located approximately 1.5 kilometers southwest of the ancient city of Pergamon (modern Bergama, Turkey)
• Orientation: The theatre is positioned at the northwest corner of the rectangular temenos (sacred precinct) of the Asklepieion, with the cavea (seating area) built against the slope of a hill facing south (“Asklepieion, Pergamon (Site),” Perseus Digital Library).
• Topographical details: The theatre utilizes the natural hillside for support on the north, while the east side is supported by vaulted substructures. It is positioned as a counterbalance to the two-story circular treatment center located at the southeast corner of the sanctuary (Mania 190-192).

Cavea (seating area)

• Diameter and estimated capacity: The theatre has a cavea with an estimated diameter of 71 meters and could accommodate approximately 3,500 spectators (“Asklepieion of Pergamon,” Turkish Archaeological News).
• Seating divisions: The cavea is divided into two horizontal sections: the ima cavea (lower section) containing 15 rows of seats divided by stairways into 5 cunei (wedge-shaped sections), and the summa cavea (upper section) also with 15 rows arranged in 5 cunei. A curved walkway or praecinctio (width 1.5 m) separates the ima and summa cavea (Ziegenhaus and de Luca 52-54).
• Construction materials and techniques: The primary construction materials were local stone, with seats made from andesite and trachyte, typical materials used in Pergamon architecture. The cavea follows the typical Roman semicircular design, with a systematic arrangement of seating sections (Hoffmann 49-51).
• Support structures and access: The south-facing cavea was built against the natural slope of the hill, with the east side supported by vaulted walls to create the necessary elevation. A praecinctio above the summa cavea possibly featured a porticus (covered walkway) (Pirson et al. 72-75).

Orchestra (performance space between audience and stage)

• Dimensions, shape, and materials: The orchestra is semicircular with a diameter of 15.67 meters, paved with polychrome marble – a luxurious material choice reflecting the importance of the structure (Ziegenhaus and de Luca 58-60).
• Special features and modifications: The orchestra incorporated a bisellium (special seating area) in the lower center ima cavea, large enough to accommodate 15 or more people – likely reserved for dignitaries or priests associated with the sanctuary (“Sanctuary of Asclepius,” Tuerkei-antik).

Pulpitum (stage)

• Dimensions and construction details: The stage (pulpit) measures 20.97 meters in length, 5 to 6.5 meters in width, and stands 1.1 meters high (Hoffmann 52-53).

• Basilicas: The theatre incorporated basilicas (tower-like structures with doors to the stage) on either side and a covered porticus post scaenam (colonnade behind the scene building). The seating area featured radiating stairways to facilitate audience circulation (Hoffmann 57-59).

Scaenae Frons (decorative scene house front)

• Architectural order and design: The scaenae frons (front of scene building) was an elaborate three-story structure decorated in the ornate architectural style characteristic of Hadrianic architecture (Hoffmann 54-56).
• Doorways and stories: The structure featured five doorways in the lower story, with the center doorway (regia) larger than the others, conforming to standard Roman theatre design principles (Ziegenhaus and de Luca 62-65).
• Decorative elements: The façade included aedicules (temple-like shrines with statues) – three on each of the lower two stories and four on the upper story, creating visual hierarchy and emphasis (Pirson et al. 80-82).

Current Status

Preservation Condition

The theatre is in a partially preserved state. The lower cavea including the bisellium has been well restored, along with portions of the summa cavea (“Asklepieion of Pergamon,” Turkish Archaeological News). The lower story of the scene building has been partially restored at the foundation level (Hoffmann 65-66). The orchestra’s marble paving is largely intact, preserving the polychrome design (Ziegenhaus and de Luca 70-72).

Conservation Efforts

Recent conservation initiatives have focused on structural stabilization and preventing further deterioration. In 2021, conservation work included consolidating a wall on the theatre that was threatened by collapse, conducted alongside training programs for local stonemasons to ensure sustainable preservation approaches (Pirson et al. 200-205).

UNESCO Status

The Asklepieion Theatre is part of the “Pergamon and its Multi-Layered Cultural Landscape” UNESCO World Heritage Site, inscribed in 2014 (“Pergamon and its Multi-Layered Cultural Landscape,” UNESCO). The UNESCO designation recognizes Pergamon’s significance as a masterpiece of Hellenistic and Roman urban planning and design, with the acropolis and its monumental buildings dominating the surrounding landscape (Caneva 180-182).

Ancient Renovations and Modern Restorations

The theatre underwent several renovations throughout its history. What visitors see today largely represents the partially restored theatre from Emperor Hadrian’s period (117-138 CE) (“Asklepieion of Pergamon,” Tuerkei-antik). Modern restoration efforts have preserved the remaining structures and enabled the theatre’s contemporary use for presentations (Pirson et al. 90-94).

Chronological Phases

• 4th century BCE: Initial establishment of the Asklepieion sanctuary (Caneva 158-160)
• 2nd century BCE: Expansion under Attalid patronage (Kranz 95-97)
• 1st century BCE: Period of decline following the Mithridatic Wars (Halfmann 525-526)
• 117-138 CE: Major renovation and construction under Emperor Hadrian (Hoffmann 60-62)
• 20th-21st centuries: Archaeological excavation and modern restoration (Pirson et al. 95-98)

Modern restorations have focused on structural stabilization and partial reconstruction. The lower cavea repairs appear complete, while only two left cunei of the summa cavea have been restored (“Asklepieion of Pergamon,” Turkish Archaeological News). The orchestra and scene house foundations have been excavated, and during some periods, a temporary stage has been installed for performances (Mania 194-196).

Archaeological Research

The archaeological investigation of the Asklepieion, including its theatre, has been conducted through several major campaigns:

Initial discoveries at the Pergamon Acropolis began in the late 19th century with Carl Humann, Ernst Curtius, and Alexander Conze. The architectural historian Wilhelm Dörpfeld conducted significant archaeological work on the Acropolis from 1900 to 1911 (Pirson et al. 12-14). From 1927 to 1939, Theodor Wiegand began focused investigations at the Asklepieion (Ziegenhaus and de Luca 15-20). Erich Boehringer continued the Asklepieion excavations from 1957 to 1968 (Hoffmann 42-43). Wolfgang Radt succeeded Boehringer in 1971 and focused research on residential buildings and water management systems (“Asklepieion, Pergamon (Site),” Perseus Digital Library). Since 2006, the excavations at Pergamon have been led by Felix Pirson (Mania 188-189).

Excavation Chronological

• 1878-1886: Initial excavations by Carl Humann (“Pergamon,” Wikipedia)
• 1900-1911: Wilhelm Dörpfeld’s work on the Acropolis (Pirson et al. 15)
• 1927-1939: Theodor Wiegand’s focused investigations at the Asklepieion (Ziegenhaus and de Luca 18)
• 1957-1968: Erich Boehringer’s continuation of Asklepieion excavations (Hoffmann 44)
• 1971-2006: Wolfgang Radt’s leadership focusing on residential architecture and infrastructure (Pirson et al. 20)
• 2006-present: Felix Pirson’s direction of the ongoing excavation project (Mania 188)

Publication History

The findings from these excavations have been extensively documented in scholarly publications:

The most comprehensive documentation appears in Altertümer von Pergamon XI (Volumes 1-5, 1968-2011) by Ziegenhaus, de Luca, and Hoffmann, based on the 1958-1969 excavations (Caneva 156). Additional publications include specialized studies on the sanctuary’s architectural development and religious significance (Kranz 100-105).

Recent research continues to expand our understanding of the site, with ongoing archaeological and geophysical fieldwork being conducted in the area, directed by Ulrich Mania as part of the German Archaeological Institute (DAI) Project “Transformation of the Pergamon Micro-region” (TransPergMikro) (Pirson et al. 180-185).

Bibliography / Resources:

“Asklepieion of Pergamon.” Tuerkei-antik: On the Traces of Ancient Cultures, www.tuerkei-antik.de/Theater/asklepieion_en.htm. Accessed 5 Jan. 2024.

“Asklepieion, Pergamon (Site).” Perseus Digital Library, www.perseus.tufts.edu/hopper/artifact?name=Asklepieion%2C+Pergamon&object=Site. Accessed 10 June 2024.

Christopoulou-Aletra, Helen, and Aspasia Togia. “The ‘Smart’ Asclepieion: A Total Healing Environment.” Archives of Hellenic Medicine, vol. 23, no. 5, 2006, pp. 532-540.

Hoffmann, Adolf. “The Roman Remodeling of the Asklepieion.” Pergamon Citadel of the Gods: Archaeological Record, Literary Description, and Religious Development, edited by Helmut Koester, Harvard Theological Studies 46, Trinity Press International, 1998, pp. 41-61.

“Pergamon and its Multi-Layered Cultural Landscape.” UNESCO World Heritage Centre, whc.unesco.org/en/list/1457/. Accessed 9 Apr. 2025.

Pirson, Felix, et al. “Pergamon – Das neue Forschungsprogramm und die Arbeiten in der Kampagne 2019.” Archäologischer Anzeiger, 2020/2, pp. 1-245.

“Sanctuary of Asclepius.” Tuerkei-antik: On the Traces of Ancient Cultures, www.tuerkei-antik.de/Fotoseiten/agaisregion/asklepieion_en.htm. Accessed 10 June 2024.

Ziegenhaus, Otto, and Gioia de Luca. Altertümer von Pergamon XI. Das Asklepieion. Teil 1. Der südliche Temenosbezirk in hellenistischer und frührömischer Zeit. Walter de Gruyter, 1968.