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TheTheatre of Dionysus[1] (or Theatre of Dionysos,Greek:Θέατρο του Διονύσου) is anancient Greek theatre inAthens. It is built on the south slope of theAcropolis hill, originally part of the sanctuary ofDionysus Eleuthereus (Dionysus the Liberator[2]). The firstorchestra terrace was constructed on the site around the mid- to late-sixth century BC, where it hosted theCity Dionysia. The theatre reached its fullest extent in the fourth century BC under theepistates ofLycurgus , when it would have had a capacity of up to 25,000,[3] and was in continuous use down to theRoman period. The theatre then fell into decay in theByzantine era and was not identified,[4] excavated[5] and restored to its current condition until the nineteenth century.[6]
The cult ofDionysus was introduced toAttica in theArchaic period with the earliest representation of the God dating to c. 580 BC.[7] TheCity Dionysia (or Great Dionysia) began sometime in thePeisistratid era.[8] and was reorganised during theKleisthenic reforms of the 520s BC.[9] The first dramatic performances likely took place in theAgora where it is recorded that the wooden bleachers set up for the plays (ikria) collapsed.[10] This disaster perhaps prompted the removal of dramatic production to the Sanctuary of Dionysus on the Akropolis, which took place by the time of the 70thOlympiad in 499/496 BC.[11] At thetemenos the earliest structures were the Older Temple, which housed thexoanon of Dionysus, a retaining wall to the north[12] and slightly further up the hill a circular[13] terrace that would have been the firstorchestra of the theatre. The excavations byWilhelm Dörpfeld identified the foundations of this terrace as a section ofpolygonal masonry,[14] indicating an archaic date. It is probable there was an altar, orthymele, in the centre of theorchestra.[15] No formally constructed stone seating existed at this point; onlyikria and the natural amphitheatre of the hill served as atheatron.[16]
Besides the archaeological evidence, there is the literary testimonia of the contemporary plays from which there are clues as to the theatre's construction andscenography. For this earliest phase of the theatre there is the work ofAeschylus, who flourished in the 480–460s BC. The dramatic action of the plays does point to the presence of askene or background scenery of some description, the strongest evidence of which is from theOresteia that requires a number of entrances and exits from a palace door.[17] Whether this was a temporary or permanent wooden structure or simply a tent remains unclear since there is no physical evidence for askene building until the Periclean phase.[18] However, the hypothesis of askene is not contradicted by the known archaeology of the site. TheOresteia also refers to a roof from which a watchman looks out, a step to the palace and an altar.[19] It is sometimes argued that anekkyklema, a wheeled trolly, was used for the revelation of the bodies by Clytemnestra at line 1372 inAgamemnon, amongst other passages. If so it was an innovation of Aeschylus' stagecraft. However,Oliver Taplin questions the seemingly inconsistent use of the device for the dramatic passages claimed for it, and doubts whether the mechanism existed in Aeschylus' lifetime.[20]
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The substantial changes to the theatre in the late fifth century BC are conventionally calledPericlean since they coincide with the completion of theOdeon of Pericles immediately adjacent and the wider Periclean building programme. However, there is no strong evidence to say the theatre's reconstruction was of the same group as the other works or from Pericles’ lifetime. The new plan of the theatre consisted of a slight displacement of the performance area northward, a banking up of the auditorium, the addition of retaining walls to the west, east and north, a long hall south of theskene and abutting the Older Temple and a New Temple which was said to have contained achryselephantine sculpture of Dionysus byAlkamenes.[22] The seating during this phase was probably still in the form ofikria but it may be the case that some stone seating had been installed. Inscribed blocks, displaced but preserved in the retaining walls, with fifth-century BCepigraphy on them might indicate dedicated or numbered stone seats.[23] The use ofbreccia in the foundations of the west wall and the long hall gives aterminus ante quem of the early fifth century BC, and a likely date of the last half of that century when its use was becoming common. Also the last recorded statue of Alkamenes was 404 BC, again placing the works in the late 400s.[24]Pickard-Cambridge argues that the reconstruction was piecemeal over the last half of the century into the period ofKleophon.[25]
From the evidence of the plays there is a larger corpus to draw upon during this most vital period of Greek drama.Sophocles,Aristophanes andEuripides were all performed at the Theatre of Dionysus. From these we can deduce that stock sets may have been in use to meet the requirements of the plays such that the Periclean reconstruction included post-holes built into the terrace wall to provide sockets for movable scenery.[26] Theskene itself was likely unchanged from the theatre's earlier phase, with a wooden structure of at most two floors and a roof.[27] It is also possible that the stage building would have had three doors, with two in the projecting side-wings orparaskenia.[28]Mechane orgeranos were used for the introduction of divine beings or flights through the air as inMedea or Aristophanes'Birds.[29]
One point of contention has been the existence or otherwise of theprothyron or columned portico on askene that represents the interior spaces of temples or palaces.[30] It is a supposition partly supported by the texts, but also from vase painting believed to be depictions of plays. AeschylusChoēphóroi 966 andAristophanes'Wasps 800-4 both refer directly to aprothyron, while the parodos-chant inEuripides’Ion makes indirect reference to one.[31] The mourningNiobe loutrophoros in Naples[32] and the Boston volute krater,[33] for example, both depict aprothyron. Pickard-Cambridge questions if this was permanent structure since interior scenes were rare in tragedy.[34] The evidence from the plays for the use of anekkyklema in this period is ambiguous; passages such asAcharnians 407 ff orHippolytus 170-1 suggest but don't require the device. The argument for its use depends largely on reference to theekkyklema in later lexographers and scholiasts.[35]
Lycurgus was a leading figure in Athenian politics in the mid- to late-fourth century prior to theMacedonian supremacy, and controller of the state's finances. In his role asepistate of the Theatre of Dionysus he was also instrumental in transforming the theatre into the stone-built structure seen today. There is a question of how far up the hill the stonetheatron of this phase went; either all the way up to the rock of the Akropolis (thekataome) or only as far as theperipatos.[37] Since theChoragic Monument of Thrasyllos of 320/319 BC required the rock face to be cut back such that it is likely that theepitheatron beyond the peripatos would have reached that point by then.
A coin of the Hadrianic period[38] crudely suggests a division of the theatre into two sections, but only onediazoma, or horizontal aisle, and not two if theepitheatron went past the peripatos.[39] The auditorium was divided by twelve narrow stairways into thirteen wedge-shaped blocks,kerkides, two additional staircases ran inside the two southern supporting walls. There is a slight slope to each step, the front edge is almost 10 cm lower than the back. The seats were 33 cm in depth and 33 cm in height with a forward projecting lip, with seventy-eight rows in total. The two fronts rows, still partially preserved today, consist of Pentelic stone chairs or thrones; these were theprohedria or seats of honour. Originally sixty-seven in number, the surviving ones each bear the name of the priest or official who occupied it, the inscriptions are all later than the fourth century, albeit with signs of erasure, and from the Hellenistic or Roman periods.[40] The central throne, which is tentatively dated to the first century BC, belonged to the priest of Dionysus.[41] Towards the orchestra there is a barrier from the Roman era, then a drainage channel contemporary with the Lycurgan theatre.
Theskene of this phase was built back-to-back with the earlier long hall orstoa, the breccia foundations of which remain. It is evident that the newskene building consisted of a long chamber from which projected at either end northward two rectangularparaskenia.[43] Whether there was also a distinctproskenion in the Lycurgan theatre is a subject of controversy, despite literary testimonia from the period there is no firm agreement where or of what form this took.[44] This era is that of the new comedy ofMenander and late tragedy of which it is sometimes supposed that the chorus disappeared from productions. It is further hypothesised that the decline in the use of the orchestra would imply, or permit, a raised stage where all the action would take place.[45]
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Amongst the innovations of theHellenistic period was the creation of a permanent stoneproskenion and the addition of two flankingparaskenia in front. The date of this construction is not secure, it belongs to some point between the third and first centuries BC.[46] Theproskenion was fronted with fourteen columns. Immediately above was thelogeion, a roof to theproskenion, which perhaps functioned as a high stage. On this second storey and set back from thelogeion is conjectured to be theepiskenion whose facade was punctured with severalthyromata or apertures where thepinakes or painted scenery would have been displayed. The date of this change devolves onto the question of the date at which the action of the drama transferred from theorchestra to the raised stage, and by analogy with other Greek theatres of the period and the direction of influence between Athens and the other cities.Wilamowitz argues[47] that Dithyrambic contest ended with thechoregia in 315,[48] however, Pickard-Cambridge notes that the last recorded victory was in 100 AD.[49] Clearly, the chorus was in decline during this period, so would have been the use of the orchestra.[50] The theatres ofEpidaurus,Oropos andSikyon all have ramps up thelogeion, their dates range from late fourth century to c. 250 BC. It remains an open question whether the existence of alogeion on these theatres implies a change in dramatic form at Athens.[51]
Another feature of the Hellenistic stage that might have been used in Athens was theperiaktoi, described byVitruvius[52] andPollux,[53] these were revolving devices for rapidly changing scenery. Vitruvius places three doors on thescaenae frons with aperiaktos are the extreme ends which could be deployed to indicate that the actor coming stage-left or -right was at a given location in the dramatic context.[54]
With the conquest of Greece bySulla and the partialdestruction of Athens in 86 BC The Theatre of Dionysus entered into a long decline. KingAriobarzanes II of Cappadocia is attributed with the reconstruction of the Odeion and the presence of an honorary inscription to him found embedded in a late wall of theskene suggest he may have had a hand in the reconstruction of the theatre,[55] There appears to have been a general refurbishment during the time ofNero whose name was erased from theentablature of anaedicule of thescaenae frons in antiquity.[56] Theskene foundation was underpinned with limestone blocks in this period, the orchestra was reduced in size and refloored in varicoloured marble with a rhombus pattern in the centre. A marble barrier was erected in 61 AD[57] or later, enclosing theorchestra up to theparodoi. The object of this might have been to protect the audience during gladiatorial combats.[58] The last phase of restoration was in theHadrianic orAntonine era with the construction of theBema of Phaidros, an addition to the Neronian high pulpitum stage.
After the late 5th century AD the theatre was abandoned: its orchestra became an enclosed courtyard for a Christian basilica (aithrion) which was built into the eastern parados, while itscavea served as a stone quarry. The basilica was subsequently destroyed and by the mid-eleventh century theRizokastro wall crossed the bema and the parodos walls.[59] Archaeological examination of the site began in earnest in the nineteenth century with the excavation of Rousopoulos in 1861. Subsequent major archaeological campaigns were Dörpfeld-Reisch,[60] Broneer and Travlos.
The Theatre of Dionysus is culturally significant because it is considered the oldest theatre.[61] It was used to celebrate the Greek godDionysus, Dionysus was the god of wine and theatre. The theatre hosted theGreat Dionysia celebration, the first theatre festival.[62] It displayed works byAristophanes,Aeschylus,Sophocles, andEuripides. It gave playwrights the ability to showcase their works to large audiences at once. The Theatre of Dionysus started as a simple wooden structure built in the 6th century BCE that was renovated into a stone amphitheater during 4th century BCE.[63] In the 5th century during the theatres golden age, the Theatre of Dionysus was the first theatre with anorchestra, but its not like the theatres we know today. The orchestraὀρχήστρα (orkhḗstra), was an area on the stage where thechorus would stand and sing or provide commentary to the actors on stage. In Roman period between 1st century BCE to the 5th century CE, this area was used to perform stage effects, and it was even flooded to simulate sea battles.[64] This staging was calledNaumachiaναυμαχία (transliterated asnaumachía). Skeneσκηνή (skēnḗ) was a backdrop used in ancient theatre to set the scene as to where the play was set.[65] The Theatre was a key part of Athenian culture and was used for many purposes over the years, but most importantly, it gave us a real look into the comedy and Greek tragedy of the time.[66]
Evidence points to the enormous popularity of theatre in ancient Greek society.[67] There was intense competition for the scarce seating , the expanding number of festivals and performances to theatre lovers touring theRural Dionysia. It is also clear from fragments of audience reaction that have come down to us that the public were active participants in the dramatic performance, and that there was reciprocal communication between performers and spectators. It is possible, for example, that laws were enacted in the late fifth century to curtail comic outspokenness such was the offence taken by some of the views expressed on the stage.[68] One anecdote that illustrates the fraught nature of this highly partisan audience reaction is that recorded by Plutarch who writes that in 468 BC when Sophocles was competing against Aeschylus there was so much clamour Kimon had to march his generals into the theatre to replace the judges and secure Sophocles’ victory.[69] While ancient drama undoubtedly excited passion in contemporary spectators, there remains the question of to what degree they valued or appreciated the work before them.[70]Aristotle'sPoetics[71] remarks: “[h]ence there is no need to adhere at all costs to the traditional stories, around which tragedies are constructed. For to try to do this would be ridiculous, since even the well-known materials well-known only to a few, but nevertheless delights all.” This raises the question of how uniform the response to Greek drama was, and whether communicative comprehension and audience competence can be taken for granted.
While the plays of the time are addressed to the adult male citizen class of the city, it is apparent that metics, foreigners and slaves were also in attendance;[72] the cost of tickets was underwritten by theTheoric Fund.[73] Much more controversial is whether women were also present. All arguments on the subject areex silentio since there is no direct evidence that women attended the Theatre of Dionysus. Jeffrey Henderson argues that since women participated in other rites and festivals they could certainly have attended the theatre.[74] In contrast, Simon Goldhill maintains that theCity Dionysia was a socio-political event similar to the courts or the assembly from which women were excluded.[75] No definite answer to the problem has been put forward.[76]
Due to the poor state of its preservation, the acoustics of the Theatre of Dionysus cannot be reconstructed. However, by analogy with other, similar Greek theatres, some idea of the sound quality of the ancient theatre can be gleaned. Ancient theatres are long renowned for their excellent acoustics, but it is only recently that scientific analysis of this has taken place. The ERATO project in 2003–2006,[77] Gade and Angelakis in 2006,[78] and Psarras et al. in 2013[79] used omnidirectional source-receivers to make measured maps of strength, reverberation and clarity. Hak et al 2016,[80] used a large number of source-receivers to make an even more detailed mapping. Their findings were that the speech clarity was best in the Odeon of Herodes Atticus and that there is a greater degree of reverberation at Epidaurus due to reflection from the opposing seats.
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