Segesta (modern Calatafimi Segesta, Sicily, Italy)

Greek: Ἔγεστα, Egesta, or Σέγεστα, Ségesta, or Αἴγεστα, Aígesta

Modern Calatafimi Segesta, Province of Trapani, Sicily, Italy, Italy

Greek / Roman Theatre

Late 4th to early 3rd century BCE

37.94132, 12.84388

4,000 - 4,500

Cavea Width: 63 meters
Orchestra Width: 15 meters

Cavea width: 63 m. with 29 rows of NNE facing seats [the lower 21 (ima cavea) survive] divided horizontally into seven wedge-shaped sections (kerkides), top row with continuous stone backrest. orchestra width: 14.80 m. Original cavea exceeded a semicircle, but now forms semicircle with analemma (cavea support walls) running parallel to parodoi (side entrances to orchestra); neither stage nor scene house still exist but the remaining foundation indicates a stage measuring L17.7, W 3.4, H2.8 m. and a scene building measuring L 17.7 m. by W 6.1 m.; the scene building had 3 doorways, was flanked by side buildings (paraskenia) and is estimated to have been 2 stories high; existing theatre dates from ca. 2nd. century BCE., replaced theatre from late 4th to early 3rd century BCE.

Segesta Theatre (modern Calatafimi, Sicily, Italy)

The theatre at Segesta (modern Calatafimi, Sicily, Italy) represents one of the best-preserved examples of ancient theatrical architecture in Italy. Located in the northwest corner of Sicily in modern-day Calatafimi-Segesta, Italy, the theatre offers a spectacular setting with panoramic views of the Gulf of Castellamare,. The theatre is in an exceptional state of preservation, and documents the transition from Greek to Roman theatrical architecture (Cartwright; Sear 190). The theatre not only provides scholars with valuable insights into ancient architectural evolution but also maintains its original purpose by hosting modern performances of classical dramas during summer months, creating a living connection between ancient and contemporary theatrical traditions (Cartwright).

Brief History of the City

Segesta was the principal center of the Elymi, an indigenous Sicilian people with possible origins from Troy. According to Thucydides, Segesta was founded by Trojan refugees in the 2nd millennium BCE (Cartwright). The settlement developed into a significant Greek polis by the 7th century BCE, establishing its own army, mint, and trading emporium on the coast for exporting locally produced goods including wine, corn, wool, and olives (Cartwright).

The city experienced political turbulence throughout its history, engaging in conflicts with nearby Selinus (Selinunte), forming alliances with Athens and later Carthage, and eventually coming under Roman control in 210 BCE. Under Roman rule, Segesta experienced renewed prosperity, receiving the status of civitas immunis et libera (free and immune city) in 225 BCE, which granted tax exemptions and political autonomy (Cartwright). The city gradually declined from the late 1st century CE and was ultimately abandoned by the 2nd century CE in favor of the nearby Aquae Segestanae.

Brief History of the Theatre

The theatre at Segesta was constructed between the late 4th and early 3rd century BCE, with the structure visible today dating primarily to the 2nd century BCE (Cartwright). The theatre underwent several renovations during the Roman period, including modifications to the cavea and parodoi. The dating of the theatre has been debated among scholars, with proposed construction dates ranging from before 409 BCE to the early 1st century BCE (Sear 190).

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

• Ancient City: Segesta (modern Calatafimi-Segesta, Sicily, Italy)
• GPS coordinates: 37.94132, 12.84388
• Orientation: North-northeast facing
• Built on a rocky slope at the northern edge of the city

Cavea (seating area)

• Diameter: 63 meters
• Estimated capacity: Approximately 4,000 spectators
• Seating divisions: Ima cavea (lower section) with 21 rows of seats divided into 7 cunei (wedge-shaped sections) by 6 staircases; evidence of a summa cavea (upper section)
• Seat dimensions: 0.38 meters high, 0.73-0.74 meters deep
• Construction materials: Local limestone blocks
• Support structures: Stone analemmata walls (retaining walls) around the edge of the cavea, extremely high at corners
• Access: Originally exceeded a semicircle but was modified during Roman renovations to form a semicircle with analemmata running parallel to the parodoi

Orchestra (performance space)

• Dimensions: 14.80 meters in diameter
• Shape: Circular
• Materials: Packed earth (presumed)
• Special features: Square opening on west side with a channel running beneath the scene building, possibly serving as a drain or Charonian tunnel (underground passage for actors to appear from “underworld”)

Pulpitum (stage)

• Dimensions: Length 17.70 meters, Width 3.45 meters, Height 2.80 meters (according to Bulle) or 3.31 meters (according to Marconi)
• Construction details: Originally featured antae (pilasters at ends of walls) at ends and 6 pilasters (0.55 × 0.42 meters) with attached Doric half-columns projecting 0.18 meters
• Stage machinery: No definitive evidence remains, though the channel beneath the stage may have accommodated stage mechanisms

Scaenae Frons (decorative backdrop)

• Architectural order: Disputed design with Bulle suggesting two storeys (Doric below, Ionic above) with a pediment, while von Gerkan considered this too high; Buckler proposed that the scene building had a single Doric storey with the Ionic order belonging to the stage
• Doorways: Three doorways in the scaenae frons
• Decorative elements: Two badly preserved figures of Pan decorated the paraskenia (side projections of the stage building)

Access and Circulation

• Entrances and exits: Two parodoi (side entrances) providing access to the orchestra
• Parodoi: Initially open, later covered according to Isler
• Stairways: Six klimakes (staircases) dividing the cavea into seven kerkides (wedge-shaped sections)

6. Current Status

The Segesta theatre remains in a remarkable state of preservation. The cavea retains 20 rows of intact seating, with well-preserved analemmata and footings of the scene building. The theatre continues to function as a venue for performances, hosting theatrical events and Greek dramas throughout the summer months (Cartwright).

Conservation efforts are ongoing under the direction of Italian cultural heritage authorities. The site has benefited from modern restoration techniques, including structural reinforcement and surface treatments to protect against environmental degradation.

While Segesta itself is not individually inscribed on the UNESCO World Heritage List, it has been submitted to the tentative list as part of the “Moth di Sicilia” serial nomination of archaeological sites.

Ancient Renovation History

• Initial construction: Scholarly opinions vary greatly on the dating of the original structure, ranging from before 409 BCE (Serradifalco, Pace) to the early 1st century BCE (Bieber, von Gerkan), with most scholars favoring dates between the late 4th and 2nd centuries BCE
• Greek to Roman adaptation: Originally constructed as a Greek-type theatre with converging analemmata, which were later cut back to be parallel to the stage during Roman renovations (von Gerkan)
• Orchestra modifications: The lowest row of seating was removed, and the angle between the end of the analemma and the corner of the cavea was cut back, possibly to improve access to the orchestra from the parodoi
• Stage extensions: Evidence suggests the stage was extended further into the orchestra, increasing its width to approximately 4.80 meters; a line of blocks linking the two ends of the cavea suggests the stage was extended again at a later date
• Parodoi covering: According to Isler, the parodoi were initially open but were later covered
  

Archaeological investigation of the Segesta theatre has involved numerous campaigns:

• Early documentation: The earliest scholarly documentation of the site appears in the works of Paternò Castello and Jean Houel in the late 18th century, followed by John Goldicutt in the early 19th century
• 19th century excavations: Domenico Lo Faso Pietrasanta, Duke of Serradifalco, conducted systematic studies of the theatre published in 1831 in his work “Le Antichità della Sicilia”
• Early 20th century campaigns: Significant work by Heinrich Bulle between 1921 and 1923, published in his “Untersuchungen an griechischen Theatern” (1928)
• Italian excavations: Pirro Marconi directed excavations in the late 1920s, publishing findings in “Notizie degli Scavi” (1929)
• Modern research: Hans Peter Isler conducted extensive investigation of the theatre from the 1970s onward
• Recent campaigns: Ongoing conservation and documentation work by Italian archaeological authorities, including the Soprintendenza per i Beni Culturali e Ambientali di Trapani

Publication history includes major works by German, Italian, and international scholars, with significant contributions from Heinrich Bulle, Pirro Marconi, Biagio Pace, Armin von Gerkan, Margaret Bieber, Hans Peter Isler, and R.J.A. Wilson.

Bibliography / Resources:

7. Bibliography

Bieber, Margaret. The History of the Greek and Roman Theater. Princeton University Press, 1961.

Bulle, Heinrich. Untersuchungen an griechischen Theatern. München: Bayerischen Akademie der Wissenschaften, 1928.

Buckler, William Hepburn. “The Origin of the Greek Tragic Stage: Two Skenai.” Journal of Hellenic Studies, vol. 45, 1925, pp. 277-293.

Cartwright, Mark. “Segesta.” World History Encyclopedia, 29 Apr. 2014, www.ancient.eu/Segesta/. Accessed 30 Jan. 2020.

Isler, Hans Peter. “Contributi per una storia del teatro antico: il teatro di Segesta.” Numismatica e Antichità Classiche, vol. 10, 1981, pp. 131-164.

Marconi, Pirro. “Segesta (Trapani) – Scoperte varie.” Notizie degli Scavi di Antichità, 1929, pp. 295-318.

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

von Gerkan, Armin. “Das Theater von Segesta.” Mitteilungen des Deutschen Archäologischen Instituts, Römische Abteilung, vol. 36-37, 1921-1922, pp. 82-92.

von Sydow, Wilhelm. Die hellenistischen Gebälke in Sizilien. Römische Mitteilungen, vol. 91, 1984, pp. 263-365.

Wilson, R.J.A. “Roman Architecture in a Greek World: The Example of Sicily.” Architecture and Architectural Sculpture in the Roman Empire, ed. M. Henig, Oxford University Committee for Archaeology Monograph 29, 1990, pp. 67-90.