Segóbriga (nr. modern Saelices, Spain)

15-10 BCE

Cavea Width: 65 meters
Orchestra Width: 24 meters

The Roman Theatre at Segóbriga (near modern Saelices, Spain)

The archaeological site of Segóbriga, located near present-day Saelices in the province of Cuenca, Spain, represents one of the most well-preserved examples of a Roman provincial city in the Iberian Peninsula. Among its impressive architectural remains, the theatre stands as a testament to the city’s importance during the Roman period and the process of cultural assimilation known as Romanization.

Segóbriga’s strategic location in central Hispania positioned it as a crucial administrative and commercial center. The city’s prominence grew substantially during the Augustan period (27 BCE-14 CE), when many of its monumental structures, including the theatre, were either planned or constructed (Abascal et al. 78).

Prior to Roman influence, the area was occupied by a Celtiberian settlement known as Segobrix. Following Roman conquest in the 2nd century BCE, the settlement gradually transformed into a Romanized city (Almagro-Gorbea and Lorrio 23). Segóbriga’s status was significantly elevated when it received the designation of municipium under Augustus, granting the city certain legal privileges and

Architectural Specifications:

• Cavea (Seating Area): Semicircular auditorium with a diameter of approximately 64 meters, seating an estimated 2,000 spectators. The cavea is divided into the traditional three horizontal sections: ima cavea (lower section) with 5 rows divided into 4 cunei (wedge-shaped seating sections), media cavea (middle section) with 5 rows and 4 cunei, and summa cavea (upper section) with 5 rows in 10 cunei. The 3 tiers of seating are separated by praecinctiones (horizontal walkways) (Abascal and Almagro-Gorbea 65) (Sear 263)
• Orchestra: Semi-circular, approximately 35 meters in diameter. 3 bisellia steps for seats of honor giving an inner orchestra width of 14.8 meters; orchestra paved with limestone slabs (Almagro-Gorbea and Abascal 124).
• Scaenae Frons (Stage Building): Rectilinear; curved regia niche (door W 1.90 m), hospitalia niches (door W 1.70 m); columnatio (H 16.87 m); 2 stories (Corinthian). Archaeological evidence indicates the scaenae frons was decorated with marble veneer and statuary representing imperial family members and local benefactors, though much of this decorative program has been lost (Noguera 217).
• Pulpitum (Stage): The wooden stage platform was approximately 40 meters wide and 6 meters deep. The front of the pulpitum (the proskenion) featured decorative niches alternating between rectangular and curved forms (Cebrián 156) (Sear 263).
• Parascaenia and Basilicae: The stage building was flanked by side chambers (parascaenia) and included two basilicae (rectangular halls) at either end, which served as gathering areas for spectators and possibly as space for performers (Almagro-Gorbea et al. 92).
• Remains: most of ima and media cavea and parts of scene building preserved.
  Date: 15-10 BCE (Almagro-Basch 209), scaenae frons remodelled late 1st/early 2nd cent. ad. (Sear 263)

Construction and Materials: The theatre primarily used local limestone in opus quadratum (ashlar masonry) for load-bearing walls and opus caementicium (Roman concrete) for supporting substructures. Marble importation was limited to decorative elements, particularly in the scaenae frons. Epigraphic evidence indicates local elites financed specific architectural features.

Chronology and Modifications: “Archaeological evidence, including epigraphic materials and construction techniques, dates the theatre’s initial construction to the early Augustan period, approximately 15-10 BCE (Almagro-Basch 209).” This date coincides with Segóbriga’s elevation to municipium status. The theatre underwent several modification phases:

• Flavian Period (69-96 CE): Significant refurbishment of the scaenae frons with updated marble decorations and imperial statuary.
• Trajanic-Hadrianic Period (98-138 CE): Repairs to the cavea funded by a local magistrate around 115 CE.
• Late Roman Period: Diminished maintenance and partial repurposing by the third century, with abandonment by the fourth century.

Archaeological Investigation: The ruins of Segóbriga were identified as early as the sixteenth century by Spanish humanist Ambrosio de Morales, though systematic archaeological investigation began much later. In the late nineteenth century, Spanish antiquarians documented visible remains, including portions of the theatre’s upper cavea (Almagro-Basch 27).

The first scientific excavations of the theatre began in the 1960s under Martín Almagro-Basch, who established the basic chronology and architectural understanding of the structure. These initial campaigns focused primarily on clearing the cavea and defining the outline of the stage building (Almagro-Basch 215-227).

More extensive excavations in the 1970s and 1980s revealed the orchestra and lower portions of the cavea, along with significant epigraphic findings that helped establish the theatre’s construction date and identified local benefactors (Almagro-Gorbea 132).

Recent Research and Conservation: Since the 1990s, research at the theatre has employed more sophisticated archaeological methodologies, including stratigraphic excavation, geophysical survey, and architectural analysis. These approaches have refined understanding of the theatre’s construction phases and use history (Abascal et al. 212).

Under the direction of the Parque Arqueológico de Segóbriga, conservation efforts have focused on stabilizing deteriorating sections and implementing measures to protect exposed architectural elements. Limited reconstruction work has been undertaken to enhance visitor understanding while maintaining archaeological integrity (Cebrián and Hortelano 156).

Chronology and Modifications: “Archaeological evidence, including epigraphic materials and construction techniques, dates the theatre’s initial construction to the early Augustan period, approximately 15-10 BCE (Almagro-Basch 209).” This date coincides with Segóbriga’s elevation to municipium status. The theatre underwent several modification phases:
Flavian Period (69-96 CE): Significant refurbishment of the scaenae frons with updated marble decorations and imperial statuary.

• Trajanic-Hadrianic Period (98-138 CE): Repairs to the cavea funded by a local magistrate around 115 CE.
• Late Roman Period: Diminished maintenance and partial repurposing by the third century, with abandonment by the fourth century.

Excavations:

• Ruins identified in 16th century by Spanish humanist Ambrosio de Morales
• Late 19th century: Spanish antiquarians documented visible remains, including theatre’s upper cavea

First Scientific Excavations (1960s)

• Led by Martín Almagro-Basch
• Established basic chronology and architectural understanding
• Focused on clearing the cavea and defining stage building outline

Expanded Research (1970s-1980s)

• Revealed orchestra and lower portions of cavea
• Uncovered significant epigraphic findings
• Established theatre’s construction date
• Identified local benefactors

Modern Methodologies (1990s onward)

• Since the 1990s, research at the theatre has employed more sophisticated archaeological methodologies, including stratigraphic excavation, geophysical survey, and architectural analysis. (Abascal et al. 212). Under the direction of the Parque Arqueológico de Segóbriga, conservation efforts have focused on stabilizing deteriorating sections and implementing measures to protect exposed architectural elements.

Bibliography / Resources:

Abascal, Juan Manuel, and Rosario Cebrián. “El teatro romano de Segóbriga y la arquitectura teatral hispana.” Arqueología, Sociedad y Territorio, vol. 4, 2010, pp. 55-86.

Almagro-Basch, Martín. “Excavaciones en el teatro romano de Segóbriga.” Noticiario Arqueológico Hispánico, vol. 16, 1983, pp. 215-227.

Almagro-Gorbea, Martín, and Juan Manuel Abascal. “El teatro romano de Segóbriga.” Los teatros romanos de Hispania, Cuadernos de Arquitectura Romana, vol. 2, 1999, pp. 193-206.

Almagro-Gorbea, Martín, et al. “La scaenae frons del teatro de Segóbriga.” Análisis Arqueológico y Propuesta de Restitución, Real Academia de la Historia, 2008, pp. 87-106.

Cebrián, Rosario. “Programa escultórico del teatro romano de Segóbriga.” Estudios de Arqueología e Historia, vol. 15, 2013, pp. 151-163.

Cebrián, Rosario, and Ignacio Hortelano. “La restitución de la scaenae frons del teatro romano de Segóbriga.” Madrider Mitteilungen, vol. 55, 2014, pp. 149-185.

Noguera, José Miguel, and Rosario Cebrián. “Elementos arquitectónicos y decorativos del teatro de Segóbriga.” Escultura Romana en Hispania, vol. 6, 2010, pp. 27-40.

Ramallo Asensio, Sebastián F. “El teatro de Segóbriga en el contexto de la arquitectura teatral hispana.” Teatros Romanos de Hispania, Universidad de Murcia, 1993, pp. 77-92.

Sear, Frank. “Provincial Theatres of Hispania: Segóbriga.” Roman Theatres: An Architectural Study, Oxford University Press, 2006, pp. 263-265.

“Teatro Romano de Segóbriga.” Parque Arqueológico de Segóbriga, Junta de Comunidades de Castilla-La Mancha, www.patrimoniohistoricoclm.es/parque-arqueologico-de-segobriga/zona-arqueologica/teatro-romano/. Accessed 5 March 2025.