Xanthus, (modern Kınık, Turkey)

Mid-2nd century CE. Replaced an earlier Greek theatre destroyed by an earthquake in 141 CE.  

Cavea Width: 65 meters
Orchestra Width: 27 meters

The Xanthus Theatre, located in modern Kınık, Turkey (ancient Xanthus, Lycia), is a Roman theatre built on Hellenistic foundations; the cavea measures approximately 65 meters in diameter; seating comprises an ima cavea with 16 surviving rows (originally 21+) in 11 cunei and a summa cavea with 4-6 surviving rows in 22 cunei, separated by a praecinctio; the structure faces north toward the ancient agora; seating capacity from 2,826 to 4,628; the orchestra diameter measures 27.10 meters and was later converted to an arena for gladiatorial games; construction began with a Hellenistic phase (possibly 1st century BCE) followed by major Roman reconstruction (mid-2nd century CE); the theatre remains partially excavated with well-preserved cavea sections and substantial lower scene building remains, protected under UNESCO World Heritage status since 1988 as part of the Xanthos-Letoon designation.

Xanthus Theatre (near modern Kınık, Turkey)

The ancient theatre of Xanthus (modern Kınık, Turkey) is located in the south-west quarter of the ancient city. This structure represents both Hellenistic origins and Roman imperial reconstruction, demonstrating the evolution of theatrical design over several centuries (Sear 380). The theatre faced north toward the ancient agora.

History

Xanthus served as the principal city of ancient Lycia, a region in southwestern Anatolia known for its distinctive culture and architectural traditions (Courtils and Cavalier 149). The city flourished under Persian, Hellenistic, and Roman rule, maintaining its status as a regional capital throughout antiquity. Archaeological evidence suggests continuous occupation from the 8th century BCE through the Byzantine period, with the city serving as the seat of the Lycian League and later as an important Roman administrative center (UNESCO World Heritage Centre).

The theatre’s history spans multiple construction phases, beginning with a Hellenistic structure possibly dating to the 1st century BCE (Frézouls 887). This original theatre was subsequently rebuilt during the Roman imperial period, likely in the mid-2nd century CE, reflecting the broader pattern of urban renewal that characterized Roman investment in Lycian cities (Sear 380). The theatre remained in use through late antiquity, undergoing modifications for gladiatorial games and other spectacles typical of the Roman entertainment culture.

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: Kınık, Turkey
• Orientation: Facing north (Sear 380)

Cavea (seating area)

• Diameter: Approximately 65 meters (Sear 380)
• Estimated capacity: 2,826 to 4,628 (Dönmez)
• Seating divisions:
  • Ima cavea (lower seating): 16 rows in 11 cunei (wedge-shaped sections), originally at least 21 rows
  • Summa cavea (upper seating): 4-6 rows survive in 22 cunei (Sear 380)
  • Separated by praecinctio (horizontal walkway) surrounded by podium wall (H 1.48 m)
• Construction materials: Local limestone with some reused seat blocks
• Substructures: Central and western portions rest against natural slope; eastern side largely embanked with stone construction 

Orchestra (performance space)

• Dimensions: Diameter 27.10 meters, semicircular (Sear 380)
• Materials: Stone construction
• Special features: Later converted to arena surrounded by podium wall (H 3.30-3.40 m) containing reused seat blocks, suggesting removal of lowest seating rows for gladiatorial spectacles; three doorways provided access through the podium wall (Sear 380)

Pulpitum (stage)

• Dimensions: 28.00 × 3.60 meters, height 2 meters (Sear 380)
• Construction details: Seven doorways in proscaenium (stage front) wall led from hyposcaenium (basement area) into orchestra (Sear 380)
• Stage machinery: All doorways were closed up in late antiquity as part of arena conversion (Sear 380)

Scaenae Frons (decorative scene house front)

• Architectural design: Five doorways with fragments of columns found (Sear 380)
• Stories: Two-tier columnatio (colonnade) based on surviving entablature blocks (Sear 380)
• Decorative elements: Numerous architectural fragments suggest elaborate decoration; three central doors were walled up in late antiquity during arena modifications (Sear 380)

Current Status

The theatre remains partially excavated, with well-preserved cavea sections and substantial remains of the lower scene building visible. The structure faces typical Mediterranean preservation challenges, including stone weathering, vegetation growth, and structural instability from earthquake damage.

Conservation efforts have focused on stabilizing exposed masonry and preventing further deterioration of architectural elements. The site benefits from Turkish Ministry of Culture and Tourism oversight, with periodic maintenance addressing drainage and vegetation control.

Xanthus was designated a UNESCO World Heritage Site in 1988 as part of the “Xanthos-Letoon” inscription, recognizing both the theatre and the broader archaeological significance of the ancient city (UNESCO World Heritage Centre). This status provides international protection and funding opportunities for ongoing conservation work.

Public access remains limited due to the ongoing archaeological work and conservation concerns, though the site attracts scholarly visitors and specialized archaeological tourism. The theatre’s integration into the broader Xanthus archaeological park offers potential for enhanced interpretation and visitor engagement while maintaining preservation priorities.

Ancient Renovation History

Phase I (1st century BCE): Initial Hellenistic theatre construction with foundations of proscaenium and first row of seats (Frézouls 889).

Phase II (mid-2nd century CE): Major Roman reconstruction creating the theatre visible today, with expanded cavea, new scaenae frons, and elaborate architectural decoration (Sear 380).

Phase III (late antiquity): Conversion for gladiatorial use, including construction of arena podium wall, closure of proscaenium doorways, and partial blocking of scaenae frons entrances (Sear 380). This phase represents the adaptation of theatrical spaces for Roman spectacle culture.

Phase IV (Byzantine period): Incorporation of theatre stones into defensive construction, evidenced by the acropolis wall cutting through the summa cavea (Sear 380).

Archaeological Research

Archaeological investigation of Xanthus theatre has proceeded in conjunction with broader excavations of the ancient city. The French Archaeological Mission to Xanthus, established in the 19th century, conducted the earliest systematic research. Charles Fellows documented the site in the 1840s, providing early descriptions of the visible remains.

Modern excavations began under Pierre Demargne in the 1950s, with the Centre National de la Recherche Scientifique (CNRS) leading ongoing research (Demargne, “Fouilles de Xanthos” 113). Demargne published preliminary findings in Fouilles d’Archéologie between 1953-1959 and presented results to the Comptes rendus de l’Académie des Inscriptions et Belles-Lettres in 1954-1955 (Demargne, “Xanthos: Rapport” 1775). Jacques des Courtils continued excavations through the 1990s, publishing results in Kazı Sonuçları Toplantısı in 1993 (Le Roy 303).

Recent work by Jean-Charles Moretti, documented in Dossiers d’Archéologie (1998), has refined understanding of the theatre’s chronology and architectural development (Moretti 52). The excavations have revealed well-preserved cavea remains and substantial portions of the scene building, providing crucial evidence for understanding Roman theatrical architecture in Lycia.

Publications include technical reports in Turkish archaeological journals and broader synthetic studies in international venues. The ongoing French archaeological mission continues to publish annual reports documenting conservation efforts and new discoveries (Courtils and Laroche 134).

Bibliography / Resources:

Courtils, Jacques des, and Laurent Cavalier. “The City of Xanthos from Archaic to Byzantine Times.” Urbanism in Western Asia Minor, edited by David Parrish, Journal of Roman Archaeology, 2001, pp. 149-171.

Courtils, Jacques des, and Dominique Laroche. “Rapport sur les travaux de la mission de Xanthos en 1997.” Kazı Sonuçları Toplantısı, vol. 20, no. 2, 1998, p. 134.

Demargne, Pierre. “Fouilles de Xanthos.” Comptes rendus de l’Académie des Inscriptions et Belles-Lettres, vol. 98, no. 1, 1954, pp. 113-114.

—. “Xanthos: Rapport sur les fouilles de 1954.” Fouilles d’Archéologie, vol. 8, 1953, p. 1775.

—. “Travaux de la mission de Xanthos en 1955.” Türk Tarih, Arkeoloji ve Etnografya Dergisi, vol. 7, no. 1, 1957, pp. 9-10.

Dönmez, Aytaç. “The Xanthus Theatre Cavea: Reconstruction of Early Empire Period.” Phaselis, vol. 8, 2022, pp. 53-72, doi:10.5281/zenodo.6454261.

Frézouls, Edmond. “Le théâtre de Xanthos.” Comptes rendus de l’Académie des Inscriptions et Belles-Lettres, vol. 134, no. 4, 1990, pp. 887-890.

Le Roy, Christian. “1992 Yılı Xanthos Kazı Çalışmaları.” Kazı Sonuçları Toplantısı, vol. 15, no. 2, 1993, pp. 303-308.

Moretti, Jean-Charles. “Xanthos: Un théâtre lycien.” Dossiers d’Archéologie, vol. 239, 1998, pp. 52-55.

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

UNESCO World Heritage Centre. “Xanthos-Letoon.” World Heritage List, whc.unesco.org/en/list/484/. Accessed 15 Dec. 2024.