Vasio Vocontiorum (modern Vaison-la-Romaine, France)

Construction began under Emperor Tiberius (14-37 CE) and was completed during the reign of Claudius.

Cavea Width: 96 meters
Orchestra Width: 30 meters

 Roman theatre of Vasio Vocontiorum, located in modern Vaison-la-Romaine (ancient Vasio Vocontiorum), France, is a Roman-type theatre with a cavea diameter of 96 meters; the seating is divided into 31 rows across three sections: ima cavea (9 rows in 4 cunei), media cavea (9 rows in 8 cunei), and summa cavea (13 rows in 4 cunei); the cavea faces north, built against the Colline de Puymin hillside; seating capacity ranges from 5,100 to 7,000 spectators; the orchestra measures 29.85 meters in diameter; construction began under Emperor Tiberius (14-37 CE) and was completed during Claudius’s reign, with later modifications under Hadrian in the early 2nd century CE; the theatre is currently in good preservation condition with substantial remains of the cavea substructures, seating areas, and orchestra, though the upper portions of the scaenae frons have been lost, and it serves as an active venue for cultural festivals.

Vasio Vocontiorum Theatre (modern Vaison-la-Romaine, France).

The Roman theatre of Vasio Vocontiorum, located in modern Vaison-la-Romaine in the Vaucluse department of southeastern France, represents one of the most significant examples of Roman theatre architecture in Gallia Narbonensis. Built against the hillside of the Colline de Puymin, this well-preserved structure provides invaluable insights into Roman provincial theatre design and the cultural life of ancient Gaul (Sear 250).

Brief History of the City

Vaison-la-Romaine was originally the capital of the Celtic Vocontii tribe, established on a rocky outcrop overlooking the Ouvèze River in the 4th century BCE. The settlement was known as Vasio, derived from the pre-Celtic word *vas meaning “source,” in reference to a sacred spring dedicated to the goddess Vasio (“Vaison-la-Romaine”). After the Roman conquest of southern Gaul (125-118 BCE), the Vocontii retained considerable autonomy as a civitas foederata (federated city), and Vasio was renamed Vasio Vocontiorum. The city flourished during the Pax Romana, reaching its zenith in the 2nd century CE when it covered approximately 75 hectares and became one of the wealthiest cities in Gallia Narbonensis (“Vasio”).

Brief History of the Theatre

Construction of major public monuments, including the theatre, began in the second half of the 1st century CE as part of the city’s Romanization program (“Vaison-la-Romaine”). The theatre was likely initiated under Emperor Tiberius (14-37 CE) and completed during the reign of Claudius, with later modifications during Hadrian’s rule in the early 2nd century CE (Sear 252). The structure fell into decline during the barbarian invasions of the 5th century, with its stones being reused for Christian tombstones and medieval construction projects (“Vaison-la-Romaine”).

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: Vaison-la-Romaine, Vaucluse, France
• Orientation: Facing north, built against the Colline de Puymin hillside (Sear 251)

Cavea (seating area)

• Diameter: 96 meters (Sear 251)
• Capacity: 5,100-6,300 spectators (Sear 251); up to 7,000 according to recent estimates (“Roman Theatre”)
• Seating divisions:
  • Ima cavea (lower seating): 9 rows in 4 cunei (wedge-shaped sections) 
  • Media cavea (middle seating): 9 rows in 8 cunei 
  • Summa cavea (upper seating): 13 rows in 4 cunei 
  • Praecinctio (horizontal walkway): 1.60 meters wide dividing the seating sections 
  • Porticus (colonnade): 4.1 meters wide at the top 
• Construction materials: Local limestone seating on earth fill contained by masonry walls (Sear 251)
• Substructures: Built against natural hillside with a 5-meter-wide road cut into rock providing access to the crypta (underground gallery). The crypta (4 meters high) was rock-cut in the center and supported on piers (1.34 meters wide) toward the sides, roofed with stone slabs forming the floor of the porticus above (Sear 251)

Orchestra (performance space between audience and stage)

• Dimensions: 29.85 meters diameter, surrounded by wall (0.20 meters wide) (Sear 251)
• Materials: Paved in local limestone 
• Special features: Two steps for bisellia (honorary seats) with inner diameter of 21.95 meters 

Pulpitum (stage)

• Dimensions: 60.3 meters long, 11.44 meters wide (12.44 meters including proscaenium wall) 
• Stage machinery: Aulaeum (curtain) slot 37 meters long, 1.5 meters wide, 1.1 meters deep with 12 mast holes 2.5 meters deep, rock-cut 

Scaenae Frons (decorative scene house front)

• Architectural design: Three-door arrangement with regia (royal door, 2.97 meters wide) in shallow curved niche and hospitalia (guest doors, 1.89 meters wide) in rectangular niches 
• Special features: Projecting basement in the middle of regia for columns, similar to arrangements at Arausio, Vienna, and Arelate 
• Basilicas: Side chambers 16.5 meters (east) and 17 meters (west) wide with doors to stage 3.78 meters wide 

Access and Circulation

• Aditus maximi (main entrances): 3.37 meters (west) and 3.5 meters (east) wide (Sear 251)
• Vomitoria: Two emerging at the praecinctio and two additional emerging at the tenth row of seats
• Staircases: Access via staircases turning at right angles from the aditus maximi
• Tunnel access: Approached from residential quarter by tunnel (2 meters wide, 21 meters long) through hill to top of cavea 

Current Status

Preservation Condition

The theatre is currently in good preservation condition with substantial remains of the cavea substructures and seating areas. The lower portions of the scene building foundations are well-preserved, though the upper portions of the scaenae frons have been lost. The orchestra and proscaenium areas remain largely intact with visible evidence of the aulaeum slot and stage machinery installations (Sear 252).

Conservation Efforts

A major restoration campaign was undertaken in the late 20th and early 21st centuries to adapt the theatre for contemporary cultural use while protecting the ancient remains (“Théâtre Antique”). The project involved consolidating the ancient masonry, installing modern drainage systems, and constructing discrete modern amenities for performances. The theatre currently serves as a venue for the annual Vaison Danses Festival, Les Choralies (choral festival), and other cultural events, demonstrating successful adaptive reuse (“Roman Theatre”).

UNESCO Status

Vaison-la-Romaine does not currently hold UNESCO World Heritage Site designation, though the archaeological sites are protected under French national heritage legislation as monuments historiques. The theatre and associated archaeological areas of Puymin and La Villasse form France’s largest open archaeological site, covering approximately 15 hectares (“Vaison la Romaine”).

Chronological Renovation Phases

• Phase I (c. 14-37 CE): Initial construction under Tiberius, basic structure completed (Sear 252)
• Phase II (c. 37-54 CE): Completion under Claudius, as evidenced by marble statue of Claudius found in the regia (“Roman Theatre”)
• Phase III (early 2nd century CE): Scene building rebuilt under Hadrian, evidenced by statues of Hadrian and Sabina discovered during excavations (Sear 252)
• Phase IV (mid-2nd century CE): Restoration of proscaenium, documented by inscription CIL 12. 1375 stating it was “vetustate consumpt(um)” (consumed by age) and restored (Sear 252)

Architectural Modifications

The theatre underwent several significant modifications during its operational period. The most substantial changes occurred to the scene building during Hadrian’s reign, when the original Tiberian structure was enhanced with more elaborate architectural elements. Archaeological evidence suggests the addition of decorative statuary including representations of Apollo and Bacchus, indicating the theatre’s continued importance as a cultural center (Sear 252).

Major Excavation Campaigns

Archaeological investigation of Vaison-la-Romaine began with preliminary explorations from 1848-1852, which were subsequently abandoned. The systematic study of the theatre commenced in 1907 under Joseph Sautel, a priest and professor from Avignon, who initially funded the excavations at his own expense (“Vasio”).

1911-1914: Maurice Burrus, an Alsatian tobacco magnate and philanthropist, directed major excavations that were interrupted by World War I (“Gallia Narbonensis”). The work was notable for uncovering the theatre’s basic plan and recovering numerous imperial statues.

1919-1939: Excavations resumed after the war under Burrus’s continued direction, with the involvement of Jules Formigé, a prominent French architect and archaeologist specializing in ancient monuments (“Gallia Narbonensis”). This phase focused on the systematic uncovering of the scene building and orchestra areas.

1912: Discovery of twelve pits containing stage machinery and numerous sculptures, including statues of emperors Tiberius, Claudius, Hadrian, and Domitian, now housed in the Théo Desplans Museum (“Roman Theatre”).

Post-1945: Excavations and restoration continued under Burrus and Formigé’s guidance, with emphasis on consolidating the structure for modern use (Sear 252).

The success of these excavations led to the town officially adopting the name “Vaison-la-Romaine” in 1924, acknowledging its Roman heritage (“Visit Vaison”). The theatre was designated as a historical monument in 1862, predating the major excavations (“Théâtre Antique”).

Publication History

The primary archaeological publications include Joseph Sautel’s comprehensive studies published in his multi-volume series “Vaison dans l’Antiquité” (Avignon, 1926, 1941-42), which remains the fundamental reference for the site (Sear 252). Jules Formigé contributed significant architectural analysis in various publications in the Bulletin Antique de France and other scholarly journals during the 1920s-1940s period (Sear 252).

Bibliography / Resources:

André, P. “Archaeological Discoveries.” Gallia, vol. 43, 1985, p. 38.

de Kisch, Y. “Le Théâtre de Vaison.” Dossiers, vol. 134, 1989, pp. 42-45.

de Kisch, Y. “Vaison Theatre.” Spectacula, edited by Christian Landes, vol. 2, pp. 133-148.

Formigé, Jules. “Remarques diverses sur les théâtres romains à propos de ceux d’Arles et d’Orange.” Bulletin Antique de France, 1921, pp. 139-144.

“Gallia Narbonensis – Vaison-la-Romaine.” Rome Art Lover, www.romeartlover.it/Vaison.html. Accessed 8 June 2025.

Grenier, Albert. Manuel d’archéologie gallo-romaine. Vol. 3, 1958, pp. 766-772.

“Roman Theatre in Vaison-la-Romaine.” Provence Guide, www.provenceguide.co.uk/cultural-heritage/vaison-la-romaine/roman-theatre-in-vaison-la-romaine/provence-614274-1.html. Accessed 8 June 2025.

Sautel, Joseph. Le Théâtre de Vaison et les théâtres romains de la vallée du Rhône. Aubanel, 1946.

Sautel, Joseph. Vaison dans l’Antiquité. 3 vols., Aubanel, 1926-1946.

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

“Théâtre Antique.” Sites Antiques de Vaison-la-Romaine, www.provenceromaine.com/sites-archeologiques/theatre-antique-vaison-la-romaine/. Accessed 8 June 2025.

“Vaison la Romaine.” Provence-Alpes-Côte d’Azur Tourism, provence-alpes-cotedazur.com/en/get-inspired/towns/vaucluse/vaison-la-romaine/. Accessed 7 June 2021.

“Vaison-la-Romaine.” Wikipedia, 31 Dec. 2024, en.wikipedia.org/wiki/Vaison-la-Romaine. Accessed 8 June 2025.

“Vasio (Vaison-la-Romaine).” Livius, www.livius.org/articles/place/vasio-vaison-la-romaine/. Accessed 8 June 2025.

“Visit Vaison.” Avignon et Provence, www.avignon-et-provence.com/en/tourism-provence/vaison-romaine. Accessed 8 June 2025.