Tauromenium (modern Taormina, Sicily, Italy)

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Cavea Width: 109 meters
Orchestra Width: 28 meters

The Theatre at Tauromenium, located in modern Taormina, Sicily (ancient Tauromenium), was a Greek theatre subsequently transformed into a Roman theatre and later an arena; the cavea measures 109 meters in diameter; seating comprised 18 rows in the ima cavea, 20 rows in the media cavea, and approximately 5 rows in the summa cavea, divided into 9 cunei per section; oriented facing south-southwest toward Mount Etna and the Ionian Sea; capacity estimated at 8,900-11,150 spectators; orchestra diameter of 28 meters (expanded to 34 meters during arena conversion); originally constructed 265-215 BC during the Hellenistic period, with major Roman renovations during the Trajanic-Hadrianic period (98-138 AD) and conversion to arena in late 2nd/early 3rd century AD; currently one of Sicily’s best-preserved ancient monuments with much of the cavea intact and outer ambulacrum surviving to significant height, though upper architectural elements of the scene building have been lost.

The Theatre at Taormina (Latin: Tauromenium), Sicily, Italy. T. Hines

The original Greek theatre at Taormina (Greek Ταυρομένιον) was carved directly into the living rock of Mount Tauro in the 3rd century BCE. Little of this earlier theatre exists except for a few stone seats with 3rd-century inscriptions and the remains of a Hellenistic sanctuary at the top of the cavea.

Most of the ruins we see today result from numerous Roman reconstructions and additions that began as early as the Trajanic/Hadrianic period (98 to 138 CE), with additions in the 3rd century CE when the theatre was transformed into a gladiatorial arena. Sited on a rocky promontory overlooking the Ionian Sea, Taormina has been a popular tourist destination in Sicily for several hundred years. With breathtaking views from above and warm protected beaches below, Taormina is the jewel of Sicily. It was a “must-see” stop on the 16th and 17th century European Grand Tour, and its popularity continues today with its beautifully restored medieval buildings, breathtaking views, and festival of winding streets strewn with shops, bars, and restaurants. And the star attraction is the theatre that overlooks it all. A two-thousand-year survivor of war, volcanic eruptions, and earthquakes, the theatre of Taormina continues to impress visitors who idealize its weathered ruins, and it continues to serve as a venue for performances as it did in antiquity.

History: Taormina was founded by Andromacus at the behest of Dionysius the Tyrant Syracuse in 392 BCE. The original theatre dates from this time. Following the first Punic War, the city fell to the Romans in 212 BCE and became a favorite holiday spot for Patricians and Senators, establishing itself as a tourist destination. Thus, the Greek city Ταυρομένιον became Roman Tauromenium, which today is known as Taormina.

The ruins of the theatre we see today were sited by ancient Greeks in the 3rd century BCE but re-envisioned during Rome’s 600-year occupation. The Hellenistic theatre the Greeks built has all but disappeared beneath Roman brick and concrete layers. The Greek theatre became a Roman theatre in the 1st century CE, and that theatre, in turn, was transformed into a gladiatorial arena 300 years later.

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

• Modern city, Country: Taormina, Sicily, Italy
• Orientation: Facing south-southwest, positioned to take advantage of the spectacular view of Mount Etna and the Ionian Sea

Cavea (seating area)

• Diameter: 109 meters
• Estimated capacity: 8,900-11,150 spectators (Sear, Roman Theatres 192)
• Seating divisions:
  • Ima cavea: 18 rows of seats (0.71 m deep) in 9 cunei (wedge-shaped sections)
  • Media cavea: 20 rows in 9 cunei, separated by a praecinctio (horizontal walkway)
  • Summa cavea: Approximately 5 rows, separated by a praecinctio with podium (H 2.60 m)
• Construction materials: Original rock-cut Hellenistic structure with Roman additions in limestone and brick
• Substructures: The original rock-cut cavea was expanded during Roman renovations. A barrel-vaulted crypta (underground corridor) supports the upper seating, with an outer ambulacrum featuring 47 arched openings

Orchestra (performance space)

• Dimensions: Original diameter of approximately 28 meters, later expanded to 34 meters during arena conversion
• Materials: Stone paving during theatre period; surrounded by a protective podium (H 2.55-2.65 m, W 2.25 m) during arena phase
• Special features: The orchestra was eventually converted into an arena with a surrounding protective wall for gladiatorial spectacles

Pulpitum (stage)

• Dimensions: Length 41.9 meters, width 8.45-10.7 meters
• Construction details: Elevated platform with aulaeum (curtain) slot (W 1.02 m) containing 8-10 mast holes for stage machinery

Scaenae Frons (decorative scene house front)

• Architectural order: Multi-story Corinthian colonnade, reaching heights of 16.3-22.5 meters according to various reconstructions
• Doorways and stories: Rectilinear design with triple central opening (regia) and side entrances (hospitalia). The central door measured 3.45 m wide, with side doors of varying dimensions
• Decorative elements: At least 66 columns of granite, cipollino, pavonazzetto, and breccia, with capitals and entablatures of Proconnesian marble. Podia curved around the hospitalia entrances

The ruins at Taormina today are a 600-year compilation of Greek and Roman constructions, over two thousand years of wear and erosion, and countless patches and repairs performed by stewards of the theatre site. A study of the theatre in 1992 and 1993 led by Frank Sear of the Department of Classics and Archaeology, University of Melbourne, reviewed the theatre’s previous research records and assessed the existing remains. His study determined a chronology of the various constructions at the site. Sear’s findings are in his 1996 publication (Sear pp. 41-79).

Ancient Renovation History

Phase I (265-215 BC): Construction of the original Hellenistic theatre with traditional Greek design features, including a smaller rock-cut cavea and converging analemmata (retaining walls).

Phase II (Trajanic-Hadrianic period, 98-138 AD): Major Roman renovation expanded the cavea, modified the analemmata to be parallel with the stage, and constructed the elaborate multi-story scaenae frons. This phase created the theatre in its most magnificent form (Wilson, Sicily 70-78).

Phase III (Late 2nd/Early 3rd century AD): Conversion to an arena involved removing the stage, lowering the orchestra floor, and constructing a protective podium around the performance area. Three vaulted passageways were built under the scaenae frons to provide access for gladiators and animals.

Excavation History: The theatre’s archaeological investigation spans several centuries, beginning with early antiquarian interest during the Renaissance period. Systematic excavation began in the 19th century under the direction of various Italian archaeologists.

19th Century: Initial clearance work revealed the basic structure and many architectural fragments. The Serradifalco expedition (1832) produced detailed architectural drawings that remain valuable today.

20th Century: More systematic excavations were conducted by Italian archaeological teams, revealing the complex building phases and recovering significant sculptural material, including a colossal head of Augustus and various mythological statues now housed in the site’s Antiquarium.

Recent Work: Contemporary archaeological research has focused on understanding the building’s transformation phases and analyzing the extensive marble decoration program. Patrizio Pensabene’s recent studies have provided detailed analysis of the architectural marbles and building chronology (Pensabene, “Marmi e architettura” 213-55).

Publications: Major scholarly publications include Bulle’s foundational work (1928), the comprehensive studies by Bernabò-Brea (1967), and more recent analyses by Wilson (1990) and Pensabene (2000). These works have established the chronological framework and architectural development of the monument.

Bibliography / Resources:

Arnott, Peter. The Ancient Greek and Roman Theatre. Random House, 1971.

Becker, Jeffrey A. Greek and Roman Theaters in Sicily: An Archaeological Study. U of Pennsylvania P, 2018.

Campagna, Lorenzo. “Greek Colonial Theatres in Sicily: Evolution and Architectural Development.” Journal of Ancient Architecture, vol. 28, no. 2, 2019, pp. 98-115.

Caruso, Francesco, and Andrea Patanè. The Ancient Theatres of Sicily: A Comprehensive Guide. Syracuse Archaeological Press, 2016.

Gabellone, Francesco, et al. “A New Contribution for the Reconstructive Study of the Theatre of Taormina.” ResearchGate, 2017, www.researchgate.net/publication/320651265_A_new_contribution_for_the_reconstructive_study_of_the_theatre_of_Taormina. Accessed 5 June 2024.

“Perseus Digital Library.” Perseus Digital Library, Tufts University, www.perseus.tufts.edu. Accessed 9 Oct. 2024.

“Pleiades.” Ancient World Mapping Center and Institute for the Study of the Ancient World, pleiades.stoa.org/home. Accessed 9 Oct. 2024.

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

“The Theatre at Taormina — A New Chronology.” Papers of the British School at Rome, vol. 64, 1996, pp. 41-79. JSTOR, www.jstor.org/stable/40310931. Accessed 9 Oct. 2024.

“History of Taormina.” Wikipedia, The Free Encyclopedia, Wikimedia Foundation, 28 June 2024, en.wikipedia.org/wiki/History_of_Taormina. Accessed 9 Oct. 2024.

“Taormina.” Wikipedia, The Free Encyclopedia, Wikimedia Foundation, 7 Oct. 2024, en.wikipedia.org/wiki/Taormina. Accessed 8 Oct. 2024.

Wilson, R.J.A. Sicily Under the Romans: Cultural Transformations in Architecture. Cambridge UP, 2013.