Telmessus or Telmessos (modern Fethiye, Turkey)

197/198 BCE (Hellenistic); ca. 27 BCE – 14 CE (Roman)

Cavea Width: 72 meters
Orchestra Width: 33 meters

The Telmessus Theatre (ancient Telmessus, modern Fethiye, Turkey), is a Roman theatre with a cavea diameter of ca 78 meters; the seating consists of 27 total rows divided into an ima cavea of 15 rows and summa cavea of 12 rows, both arranged in 9 cunei; the structure faces north; estimated seating capacity ranges from 5,000-8,000 spectators; the orchestra measures approximately 30 meters in diameter; construction occurred during the Augustan period (27 BCE – 14 CE); the theatre underwent later modifications in the 3rd-4th centuries CE when the orchestra was converted to an arena for gladiatorial games; current condition shows partial preservation with 12 rows of seating intact and substantial cavea remains, though the scene building has largely disappeared and the structure faces ongoing deterioration from vegetation growth and weathering, with only basic stabilization measures implemented by Turkish authorities.

The Roman Theatre at Telmessos (modern Fethiye, Turkey)

The Lycian city of Telmessus (modern Fethiye, Turkey), served as one of the principal cities of ancient Lycia, strategically positioned on the Mediterranean coast near the modern Turkish resort town of Fethiye. The city gained prominence during the Hellenistic period as part of the Lycian League and later flourished under Roman administration following the region’s incorporation into the Roman Empire in 43 CE. Known for its oracle of Apollo and as a center of divination, Telmessus maintained its importance throughout the imperial period.

Theatre History

The Roman theatre was constructed during the Augustan era (27 BCE – 14 CE) as part of broader urban development projects undertaken throughout the Roman East during the early empire. The theatre may have replaced an earlier Hellenistic theatre. The structure underwent modifications in late antiquity when the orchestra was converted into an arena for gladiatorial contests and venationes (beast hunts), reflecting changing entertainment preferences in the later Roman period.

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: Fethiye, Turkey
• Orientation: Facing north

Cavea (seating area)

• Diameter: 78 meters
• Estimated capacity: Approximately 5,000-6,000 spectators
• Seating divisions:
  • Ima cavea (lower seating): 15 rows (0.41 × 0.64 m) divided into 9 cunei (wedge-shaped sections)
  • Summa cavea (upper seating): 12 rows arranged in 9 cunei
  • Separated by a praecinctio (horizontal walkway) with surrounding podium wall (H 1.75 m)
• Construction materials: Local limestone with marble seat facings
• Substructures: Built against natural hillside with two vaulted passageways providing access to the praecinctio

Orchestra (performance space)

• Dimensions: Approximately 30 meters in diameter according to available plans
• Shape: Semi-circular
• Materials: Stone paving
• Special features: Later converted to arena with rough defensive wall (maximum preserved height 2.75 m) built around the orchestra perimeter, featuring two doorways providing access to the cavea

Pulpitum (stage)

• Dimensions: 40 × 4 meters (Texier measurements); rectilinear front with oblique sides (Ferrero)
• Construction details: Beam slots approximately 0.60 meters apart found in front of scene building, indicating wooden stage flooring supported on a stone framework

Scaenae Frons (decorative scene house front)

• Architectural design: Rectilinear façade with five doorways decreasing in size toward the sides
• Stories: Two-story columnatio (colonnade system)
• Doorways: Five entrances with central doorway (porta regia) flanked by smaller lateral openings
• Decorative elements: Podia positioned between doorways to support the columnar decoration

Current Status

Preservation Condition: The theatre remains partially preserved with substantial portions of the cavea seating intact. Twelve rows of seats remain in good condition, although the complete upper seating area exhibits significant deterioration. The scene building foundations are preserved, but little superstructure remains, representing a significant loss from the better-preserved state documented by 19th-century scholars.

Modern interest in the Telmessos theatre began in the mid-20th century. Initial expropriation efforts by the Turkish Ministry of Culture and Tourism commenced in 1976. Subsequent excavations, led by the Fethiye Museum, took place from 1992 to 1995, during which the theatre was extensively uncovered. These excavations revealed the theatre’s structural components, including the seating arrangements and stage areas, providing valuable insights into its original design and subsequent modifications. (Source: Hurriyet Daily News)

Restoration
Restoration initiatives were launched in the early 21st century. In 2011, plans were announced to restore the theatre, with an allocation of 5 million Turkish Liras by the Muğla Special Provincial Directorate. The restoration aimed to preserve the remaining structures and, where possible, reconstruct elements to reflect the theatre’s historical appearance. Between 2013 and 2015, significant restoration activities were undertaken, focusing on stabilizing the existing ruins and enhancing the site’s accessibility for educational and touristic purposes. (Source Hurriyet Daily News)

The Roman Theatre at Telmessos (modern Fethiye, Turkey)

Ancient Renovation History

While the visible remains date back to the Augustan period, some evidence suggests that a possible earlier Hellenistic phase, dating to 197/198 BCE, may have preceded the Roman construction.

Augustan Period (27 BCE – 14 CE): The theatre’s initial construction occurred during this foundational phase, establishing the basic architectural framework that would define the structure throughout antiquity. The Roman theatre may have replaced an earlier Hellenistic theatre.

Late Imperial Modifications (3rd-4th century CE): Significant alterations transformed the theatre’s function, allowing it to accommodate not only dramatic performances but also gladiatorial games. The orchestra was converted into an arena through the construction of a protective barrier wall around its perimeter. This renovation included the installation of two access doorways in the barrier wall and the general reinforcement of the structure to support the new entertainment format.

Archaeological Research: Early Documentation (18th-19th centuries): The theatre received attention from early European travelers and scholars. Choiseul-Gouffier documented the structure in Voyage pittoresque de la Grèce (1782), while Chandler provided detailed descriptions and plans in Ionian Antiquities (1769, 1797). Texier’s comprehensive study in Description de l’Asie Mineure (1839) included detailed architectural drawings that remain valuable today.

Modern Archaeological Investigations: Systematic archaeological investigations have been limited, with most scholarly knowledge derived from architectural surveys rather than extensive excavations. Ferrero’s comprehensive study in Teatri Greci e Romani (1966-1970) provided a detailed architectural analysis based on a field survey. More recent studies by Turkish archaeologists have focused on conservation assessment and limited clearance work.

Publication History: The theatre is featured in major regional surveys, including Bean’s Lycian Turkey (1978), and forms part of broader studies on Lycian urban development. The structure is documented in Sear’s comprehensive survey Roman Theatres: An Architectural Study (2006), which provides the most reliable architectural specifications currently available.

Bibliography / Resources:

“Ancient Theater in Center of City Undergoing Restoration Process.” Hürriyet Daily News, www.hurriyetdailynews.com/ancient-theater-in-center-of-city-undergoing-restoration-process-30671. Accessed [5 Jun 2025].

Bean, George E. Lycian Turkey. London: John Murray, 1978.

Chandler, Richard. Ionian Antiquities. London: Society of Dilettanti, 1769.

Choiseul-Gouffier, Marie-Gabriel-Florent-Auguste. Voyage pittoresque de la Grèce. Paris: J.J. Blaise, 1782.

Ferrero, Daria De Bernardi. Teatri Greci e Romani. 3 vols. Rome: Quasar, 1966-1970.

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

Texier, Charles. Description de l’Asie Mineure. Paris: Firmin Didot, 1839.

Wörrle, Michael, and Wolfgang Wurster. “Aus der Arbeit der Grabung Limyra: Die Arbeiten des Jahres 1977.” Archäologischer Anzeiger 93 (1978): 74-101.

Wurster, Wolfgang. “Zur Topographie von Telmessos in Lykien.” Archäologischer Anzeiger (1976): 36-47.