Sicyon (modern Sikyona ‘previously Vasiliko’)

ca. 303-251 BCE.

Cavea Width: 122 meters
Orchestra Width: 24 meters

Ancient Sicyon Theatre (modern Sikyona), Peloponnesos, Greece

Koilon/Cavea: NE facing; carved out of living rock; D. 122 m; lower section of the koilon is divided into 15 seating sections (kerkides) by 14 stairways; 9 rows of seating uncovered – 40 to 60 total rows estimated; seating capacity estimate: 9.000 to 10,000 (Howard 174). One diazoma (horizontal walkway) separates the upper and lower seating areas. A notable feature is a pair of arched passageways that cut through the hill behind the koilon.
Orchestra: D 24.3 meters; parodoi with gates provide access; surrounded by prohedria seating and a drainage channel. An elaborate drainage system exists under the orchestra.
Skene: 2 story Hellenistci scene house: W. 24.5 m, D 12.11 m. with stage 3.3 m. high and 2.8 m. wide. A late Roman renovation replaced the Hellenistic proskenion with a deeper Roman stage that extended forward to the edge of the koilon. The Hellenistic proskenion wall was replaced with a Roman wall and had three openings: a double set of doors in the center flanked by 2 single doors. Only the foundation of the skene remains.
Date of Construction: Built between date when inhabitants moved to site (303 BCE and 251 BCE); Roman rebuilding of scene building probably 1st cent. BCE or early Imperial; large stage late Roman (Sear 405)

The Ancient theatre at Sicyon (modern Sikyona ‘previously Vasiliko’)
Author: T. Hines 2007

The Theatre at Sicyon

The Hellenistic theatre at Sicyon (modern Sikyona, previously Vasiliko) was built between 303 and 251 BCE and underwent at least two Roman renovations in its long history. The earliest historical record mentioning Sicyon’s theatre comes from Plutarch’s Life of Aratos, which documents a public assembly held there in 251 BCE (Hayward and Lolos 164). The Romans later modified the structure, rebuilding the skene during the 1st century CE and enlarging the stage in the late Roman period (Sear 405). With dimensions of 122 meters in width and 58 meters in depth, the theatre ranks among the more substantial theatrical structures in the Peloponnesus. Today’s ruins offer merely a glimpse of the Romanized theatre that Pausanias described in the second century CE: “On the stage of the theater built under the citadel is a statue of a man with a shield, who they say is Aratus, the son of Cleinias. After the theater is a temple of Dionysus” (Pausanias 2.7.5).

Contemporary visitors encounter only the partially excavated remains: a bowl-shaped depression carved into a hillside revealing several rows of stone seating, a horseshoe-shaped orchestra of compacted earth with ancient drainage features, foundations of the skene and proskenion, stone access ramps to the proskenion, and two impressive arched passageways cutting through the hill behind the cavea. While visitors can appreciate the distant view of the Corinthian Gulf approximately two kilometers away, the site lacks the restored grandeur that characterizes Epidaurus. The statue of Aratus mentioned by Pausanias has vanished along with the ornamental columns and marble decorations that once adorned the theatre’s façade. What remains provides evidence of a late 4th century BCE Hellenistic theatre with subsequent Roman modifications to both the skene and proskenion stage.

Excavations

The American School of Classical Studies conducted excavations at Sicyon from 1886 to 1898 under the successive direction of M.L. D’Ooge, A.C. Merrim, and M.L. Earle, uncovering the skene, orchestra with its drainage system, and the lower nine rows of cavea seating (McMurtry 267). The Archaeological Society of Athens performed additional excavations in 1920 and 1984. Ernst Fiechter re-examined the excavated remains in 1925 and 1929. Today, the 4th Ephorate of Prehistoric and Classical Archaeology oversees all archaeological work both within the ancient city and the surrounding area. Archaeological artifacts from the site are displayed in the Sicyon Museum, which reopened to the public in 2007 after renovation (Hayward and Lolos 164).

Cavea or Koilon (seating area)

The koilon (cavea) of Sicyon’s ancient theatre is primarily carved from the natural bedrock of the hillside. Late 19th century excavations initially uncovered portions of the lowest four rows of seats. Later archaeological work exposed sections of the lower nine rows, including a row of prohedriai (stone honor seats with backrests) bordering the orchestra. The majority of the koilon remains buried beneath substantial soil accumulation. Archaeological estimates place the theatre’s seating capacity between 9,000 and 10,000 spectators (Howard 174).

Analemmata (retaining walls) provide structural support to the koilon walls that face the parodoi (side entrances). These walls, constructed with ashlar masonry, feature stepped heights corresponding to the stone seating tiers before terminating in the natural hillside rock. The koilon’s lower section is arranged into fifteen kerkides (wedge-shaped seating sections) separated by fourteen stairways. At least one diazoma (horizontal walkway) divides the upper and lower seating areas. Excavators confirmed the existence of this first diazoma through discoveries of an upper retaining wall and segments of an open drainage channel running along its length (McMurtry 277).

The koilon’s dimensions measure 122 meters (400 feet) in width and 58.41 meters (192 feet) in depth, measured from the rear of the central prohedria to the back of the unexcavated seating area. Based on these measurements, archaeologists have proposed the possible existence of a second diazoma and a third tier of seating (Fossum 264). Scholars estimate the total number of seating rows between forty and sixty.

Prohedriai (stone-carved seats of honor)

The front seating row consists of thirteen prohedriai (seats of honor). These spacious benches feature both arms and backs, with each bench spanning the width of its corresponding kerkis (seating section). Unlike Athens’ theatre with its marble prohedriai, Sicyon’s honor seats are carved from the same native stone as the standard seating rows. However, similar to their Athenian counterparts, decorative scrollwork remains visible on the exterior arms and bases of these benches (McMurtry 278).

A pair of vaulted passages on the eastern and western sides of the koilon provided audience access to the first diazoma. These passages extend approximately 16 meters (53 feet) through the theatron and remained well-preserved during the initial excavations. These tunnels, 2.55 meters (8.4 feet) in width, represent significant examples of authentic Greek arches. The vaulting at Sicyon predates Roman architectural influence and dates to the theatre’s original construction period; “the blocks have the same dimensions and are laid in the same manner (close fitting without mortar, ashlar masonry) as those in the Hellenic stage foundation wall” (McMurtry 278). While Winter identifies comparable Hellenistic arch-and-vault constructions at Letoon, Assos, and Aigai in Asia Minor, he acknowledges Roman influence on these structures (Winter 110).

The Orchestra (performance area between seating and stage)

Sicyon’s orchestra measures 24.3 meters (approximately 80 feet) in diameter when measured to the prohedriai base (Sear 405). Composed of packed earth, it forms somewhat more than half the circumference of a nearly complete circle. A wide drainage channel encircles the orchestra, creating separation from the prohedriai in the front row. Similar to Athens’ Dionysiac theatre, stone slabs cover this channel where it intersects with stairways, functioning as bridges.

An elaborate subterranean channel network extends from the orchestra’s center to the prohedriai perimeter and to the skene’s rear section (McMurtry 276). These covered tunnels invite comparison with the underground actor passageways at the Hellenistic theatres of Eretria, Corinth, and Argos—passages that led to stairs (Charonian steps) enabling dramatic entrances for performers. Some scholars argue these channels served dual purposes for both drainage and theatrical performance, while others maintain they functioned solely as drainage infrastructure appropriate for an open-air orchestra with clay flooring in a coastal region prone to heavy rainfall (Brownson 404).

The parodoi provide side entrances to the orchestra, each measuring approximately 5 meters (16.4 feet) wide. Remaining gate supports and stone thresholds indicate the presence of gated entrances resembling those at Epidaurus (Fossum 270).

Skene (scene house)

Bieber characterizes the typical Hellenistic scene building as featuring “a two-story structure with a one-story forebuilding facing the orchestra” (proskenion). This forebuilding comprised a colonnade supporting a long, narrow stage. Access from the orchestra level to the stage was provided either by stairs (as at Priene) or by ramps running parallel to the parodoi (as at Sicyon, Eretria, and Epidaurus) positioned at the stage ends. Access from the rear was facilitated through large openings (thyromata) that penetrated the second-story wall (episkenion). These architectural features from the 3rd and 2nd centuries BCE emulated a two-story palatial residence with a one-story terrace supported by a colonnade (Bieber 118-124).

Archaeological excavations at Sicyon reveal a skene measuring 24.5 meters in width and 12.11 meters in depth, with proskenion ramps carved from the bedrock on either side. These ruins represent three distinct construction periods encompassing both Greek and Roman building phases (Sear 405).

The skene and proskenion approximately match the orchestra’s width. Based on the stone-carved ramps’ incline and width, researchers estimate the stage height at approximately 3.3 meters (10.7 feet) and its width at 2.8 meters (9 feet). This height conforms to Vitruvius’ architectural standard for stage construction, which specified “not less than 10 nor more than 12 Roman feet high” (Fossum 270).

The archaeological evidence indicates Roman renovations occurred during the 1st century BCE and again in the late Roman period. The initial modifications extended the skene away from the audience area and incorporated a Doric portico at the rear. A subsequent late Roman renovation replaced the Hellenistic proskenion with a deeper Roman stage that extended forward to the koilon’s edge. The Romans replaced the original Hellenistic proskenion wall with their construction featuring three openings: a central double doorway flanked by two single doorways. Only minimal remains of this wall survive today (Fossum 270).

Ancient Renovation History of Sicyon Theatre

Original Construction (303-251 BCE):
The Hellenistic theatre at Sicyon was built between 303 and 251 BCE, during the period when inhabitants moved to the site.

First Roman Renovation (1st Century BCE/CE):
The first Roman renovation likely occurred in the 1st century BCE or early Imperial period. Initial alterations extended the scene building away from the audience and included a Doric portico at the rear. 

Late Roman Renovation:
A late Roman renovation replaced the Hellenistic proskenion with a deeper Roman stage that extended forward to the edge of the koilon. The Hellenistic proskenion wall was replaced with a Roman wall featuring three openings: a double set of doors in the center flanked by two single doors. Greekreporter

Modern Renovation History

In 2006-2007, with funding from the 3rd Community Support Fund, the 37th Ephorate of Prehistoric and Classical Antiquities carried out restoration work on the east vaulted passageway of the ancient theatre, while the west vaulted passageway was temporarily shored up. Diazoma

As of February 20, 2013, the monument was re-introduced into a restoration program aimed at the protection and enhancement of its original identity, following agreement by the Central Archaeological Council to schedule required work. The 17th Ephorate of Prehistoric and Classical Antiquities had developed restoration proposals to address the theatre’s structural and morphological problems. Greekreporter

More recently, the regional unit of Corinth and Sicyon donated 200,000 euros toward restoration efforts, and the Diazoma Association (a network of archaeologists, curators, conservators, artists, intellectuals, local mayors, and citizens) donated 10,000 euros to the project. The Diazoma group has taken the lead in enhancing and restoring the ancient site. Greekreporter

Excavation History

1886-1891: The American School of Classical Studies conducted the first major excavations of the Sicyon Theatre under the successive directorships of M.L. D’Ooge, A.C. Merrim, and M.L. Earle. These initial excavations revealed the stage building and orchestra while unearthing portions of the lower 4 rows of seats in the theatre.

1920: The Archaeological Society at Athens took over excavation efforts, conducting further investigations of the theatre site and expanding upon the work done by the American School.

1952: The Archaeological Society at Athens returned to Sicyon and carried out additional works and excavation of part of the cavea (seating area), further revealing the theatre’s structure.

1982-1984: The Archaeological Society at Athens conducted another round of excavations, performing additional work on parts of the cavea and further investigating the site’s features and layout.

2006-2007: The 37th Ephorate of Prehistoric and Classical Antiquities, with funding from the 3rd Community Support Fund, carried out restoration work rather than excavation. This work focused on the east vaulted passageway of the ancient theatre, while the west vaulted passageway was temporarily shored up.

Present Day: The 4th Ephorate of Prehistoric and Classical Antiquities is now responsible for all excavations at the city and surrounding area. Movable objects discovered during the various excavation campaigns are housed in the onsite Sicyon museum, which reopened in 2007.

Bibliography / Resources:

Panoramic Imagages of Sicyon

Bieber, Margarete. The History of The Greek and Roman Theatre. 2nd ed., Princeton UP, 1961.

Brownson, Carleton L. “Further Excavation at the Theatre of Sicyon in 1891.” The American Journal of Archaeology and the History of the Fine Arts, vol. 8, no. 3, 1893, pp. 397-409.

Fossum, Andrew. “The Theatre at Sikyon.” The American Journal of Archaeology and the History of the Fine Arts, vol. 9, no. 3, 1905, pp. 263-276.

Haigh, A.E. “Dorpfeld’s Theory of the Greek Stage.” The Classical Review, vol. 12, no. 1, 1898, pp. 1-11.

Hayward, Chris, and Yannis Lolos. “Building the Early Hellenistic Theatre at Sikyon.” Monographs of the Danish Institute at Athens, vol. 17, Aarhus UP, 2015, pp. 161-176.

Howard, Alyson. “Greek Theatre Architecture.” Journal of Hellenic Studies, vol. 45, no. 2, 2005, pp. 171-185.

McMurtry, W.J. “Excavations by the American School at the Theatre of Sikyon. I. General Report of the Excavations.” The American Journal of Archaeology and the History of the Fine Arts, vol. 5, no. 3, 1889, pp. 267-286.

Pausanias. Description of Greece. Translated by J.G. Frazer, Biblo and Tannen, 1965.

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

Tomlinson, R.A. Argos and the Argolid: From the End of the Bronze Age to the Roman Occupation. Cornell UP, 1972.

Winter, Frederick E. Studies in Hellenistic Architecture. U of Toronto P, 2006.

American School of Classical Studies at Athens. “Excavation Records.” ASCSA, www.ascsa.edu.gr/archives/blegen/EXc_rec.html. Accessed 15 Apr. 2025.

Greek Travel Pages. “Sikyon.” GTP, www.gtp.gr/LocPage.asp?id=60772. Accessed 15 Apr. 2025.

Hayward, Chris, and Yannis Lolos. “Building the Early Hellenistic Theatre at Sikyon.” Academia.edu, 2015, www.academia.edu/22504024/Building_the_Early_Hellenistic_Theatre_at_Sikyon. Accessed 15 Apr. 2025.

Stillwell, Richard, et al., editors. “Sikyon.” The Princeton Encyclopedia of Classical Sites. Perseus Digital Library, www.perseus.tufts.edu/cgi-bin/ptext?doc=Perseus%3Atext%3A1999.04.0006&layout=&loc=sikyon. Accessed 15 Apr. 2025.