Introduction
Roman theatre architecture evolved differently across the Empire, resulting in distinct regional variations that reflected local traditions, cultural influences, and practical considerations. According to Frank Sear’s comprehensive study (Roman Theatres: An Architectural Study), Roman theatres can be categorized into three main architectural types, each with characteristic design features that distinguished them from one another.
The Western Roman Type
The western type of Roman theatre represents the most standardized form and was prevalent throughout the western provinces of the Empire, including Italy, southern Gaul, Spain, the northern Balkans, and the western provinces of North Africa (Mauretania, Numidia, and Africa Proconsularis).
Key Characteristics:
- Semicircular design: Both the orchestra and cavea formed perfect semicircles
- Seating arrangement: The cavea was divided vertically into 4, 5, or 6 cunei (wedge-shaped sections) and horizontally into three distinct zones: ima cavea (lower), media cavea (middle), and summa cavea (upper)
- Structural integration: The cavea connected directly to the stage building, with analemmata (retaining walls) running parallel to the stage
- Stage configuration: Featured a low, broad stage with an elaborate scaenae frons (backdrop wall) containing three doorways for actors
- Architectural elements: Often included basilicas at the sides of the stage, rooms behind the scaenae frons, and sometimes a porticus around the top of the cavea
- Construction: Frequently built on hollow substructures, even when constructed against hillsides
The Eastern Type (Asia Minor and Greece)
Theatres in Greece and Asia Minor maintained stronger connections to Hellenistic traditions, resulting in designs that differed significantly from their western counterparts.
Key Characteristics:
- Extended cavea: The seating area typically exceeded a semicircle, with converging analemmata
- Seating divisions: Vertically divided into 5, 7, or 9 cunei, with horizontal division typically into two zones: theatron (lower) and epitheatron (upper)
- Orchestra shape: Usually exceeded a semicircle, often considerably
- Stage design: Higher stages, often trapezoidal in shape due to the cavea configuration
- Structural separation: The stage and scene building remained separate from the cavea, leaving the parodoi (entrance passages) uncovered
- Adaptations: Many later adopted Roman-style scaenae frons, though space constraints often prevented the inclusion of side basilicas
The Levantine Type
The provinces of Arabia, Palestina, and Syria, along with Crete and some cities in Lycia and Cilicia, developed a hybrid theatrical form that combined elements from both western and eastern traditions while incorporating unique regional features.
Key Characteristics:
- Horseshoe-shaped orchestra: A distinctive feature created by a cavea that exceeded a semicircle but with analemmata parallel to the scene building
- Mixed seating arrangements: Vertically divided into 4, 5, or 6 cunei (similar to western type), but with horizontal division more commonly into three zones
- Architectural synthesis: Stage and scene buildings followed western patterns, though many lacked basilicas
- Cultural influence: Exhibited strong Hellenistic influence, particularly in masonry techniques and carved decorative details
- Profiled seating: Like eastern theatres, seats were usually profiled rather than plain
Regional Variations and Influences
The development of these three main types reflects the complex cultural and political landscape of the Roman Empire. Western theatres represented Roman architectural innovation and standardization, while eastern types preserved Greek theatrical traditions. The Levantine type demonstrates how local architects and patrons adapted Roman forms to regional preferences and existing cultural practices.
Some Greek cities under strong Roman influence, such as Athens and Corinth, incorporated western features into their theatres, while theatres in Cyrenaica and Egypt showed varying degrees of western influence. This architectural cross-pollination illustrates the dynamic nature of Roman imperial culture and the ways in which local traditions both influenced and were influenced by Roman architectural practices.