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ANCIENT THEATRES - ANCIENT THEATRES' IDENTITY
THEATRE OF DIONYSOS
Information
|
Description
of the
Monument
|
Photo
Gallery
|
Scientific
Report
Information
 |
The Theatre of Dionysos lies on the south side of the Acropolis and was the centre of the theatrical performances organised in ancient Athens. At the Great Dionysia, celebrated in late March to early April, all Athenian citizens attended dramatic contests sponsored by choregoi. The theatre acquired its gigantic, wholly stone-built expanse after the mid-4th century BC. |
|
|
|
Description
of the
monument
-Theatre of
Dionysos
The Theatre
of Dionysos
lies on the
south side
of the
Acropolis,
forms an
integral
part of the
Sanctuary of
Dionysos and
is directly
connected to
the myths
and cult of
the god.
The theatre only acquired its gigantic, wholly stone-built expanse after the mid-4th century BC. Its overall shape was irregular, affected on the east side by the much earlier Odeon of Pericles, which the theatre adjoins, and on the west by the need to retain an important ascending road.
A view of
the theatre
from
Acropolis
The basic layout of the theatre consists of 14 radiating flights of steps which divide the cavea into 13 wedge-shaped sections, the cunei. The seats in the first tier are in the shape of marble thrones, dominated by the central throne of the Priest of Dionysos. To left and right of this throne and extending to the outermost flights of steps are 33 seats of honour on either side, known as proedriae. The other tiers of seats consist of large, well-dressed stone blocks from the shore of Piraeus. Today seats are preserved in good or poor condition up to and including the 34th tier, while it is estimated that there were 67 tiers of seats reaching the height of the ancient walk.
The stage of the Theatre of Dionysos was first converted into a stone building around the middle of the 4th century BC, when Lycourgos was the eponymous archon. The greater part of the Theatre, with the stone cavea and the retaining walls of its parodoi, was not altered in Hellenistic times, but the stage was rebuilt during that period.
In Roman times, a new scenic structure was raised in place of the old, while the orchestra became horseshoe-shaped, was paved with marble slabs, and was encircled by a vertical balustrade. Another marble balustrade with mythological scenes, known as the “Bema of Phaedros”, was built on the south side of the orchestra.
The Theatre of Dionysos was the centre of the theatrical performances organised in ancient Athens. At the Great Dionysia (City Dionysia), celebrated in late March to early April, all the citizens attended theatrical performances organised by the state and sponsored by choregoi (wealthy citizens).
The Theatre of Dionysos was abandoned after the end of antiquity, and during the course of the medieval period its traces gradually vanished under infill which was preserved until the late 19th century. Work on the restoration, promotion and protection of the monument has not yet been completed.
The monument is not used for theatrical performances or other cultural events, and the only permitted use is visiting the archaeological site.
Konstantinos
Boletis
Architect
Photo
Gallery of
the Monument
|
|
Restored plan of the Theatre and Sanctuary of Dionysos by M. Korres. (W. Hoepfner (ed.), Kult und Kultbauten auf der Akropolis, Internationales Symposion vom 7. bis 9 Juli 1995 in Βerlin, Berlin 1996) |
|
|
The Theatre of Dionysos from the Acropolis |
 |
The Theatre of Dionysos in a photograph of the German Archaeological Institute (1897) |
Scientific
Report
| Monument Name |
THEATRE
OF
DIONYSOS |
| Category |
Theatre |
| Brief Description |
The
monument
forms
an
integral
part
of
the
Sanctuary
of
Dionysos,
directly
connected
to
the
myths
and
cult
of
the
god. |
| Images - Plans |
Full
photographic
documentation
exists
in
separate
archives
(1st
Ephorate
of
Prehistoric
and
Classical
Antiquities,
Committee
of
the
Theatre
&
Sanctuary
of
Dionysos,
etc.)
Drawings
of
parts
of
the
orchestra,
the
stage
of
the
structure,
parodoi
and
sections
of
the
cavea
are
included
in
the
published
material
on
the
monument.
There
are
also
separate
drawings
in
the
archives
of
the
Committee
of
the
Theatre
of
Dionysos.
The
detailed
plans
of
the
cunei
of
the
cavea
and
the
orchestra
by
W.
Wurster
in
collaboration
with
topographer
Konstantinos
Kazamiakis,
as
well
as
separate
additional
plans
by
M.
Korres,
form
the
basic
design
background
for
the
study
of
the
theatre
to
this
day. |
| Documentation - Bibliography |
Καλλιγάς,
Π.
1994.
«Η
περιοχή
του
Ιερού
και
του
Θεάτρου
του
Διονύσου
στην
Αθήνα»,
in:
Η.
Coulson,
Ο.
Palagia,
The
Archaeology
of
Athens
and
Attica
under
the
Democracy,
Proceedings
of
International
Conference,
4-6
December,
1992,
pp.
25-30.
Κορρές,
M.
1982-1988.
Η
Aκρόπολη
και
η
νότια
κλιτύς
της,
Ιστορική
ανάλυση
και
προτάσεις
(unpublished).
Κορρές,
M.
1980.
«A΄
Εφορεία
Προϊστορικών
και
Κλασικών
Αρχαιοτήτων
Aκροπόλεως,
Εργασίες
στα
μνημεία»,
ΑΔ
35,
pp.
9-21.
Κορρές,
M.
1981.
«A΄
Εφορεία
Προϊστορικών
και
Κλασικών
Αρχαιοτήτων
Ακροπόλεως,
Εργασίες
στα
μνημεία»,
ΑΔ
36,
pp.
5-7.
Κορρές,
M.
1982.
«A΄
Εφορεια
Προϊστορικών
και
Κλασικών
Αρχαιοτήτων
Ακροπόλεως,
Εργασίες
στα
μνημεία»,
ΑΔ
82,
pp.
15-18.
Κορρές,
M.
1983.
«A΄
Εφορεία
Προϊστορικών
και
Κλασικών
Αρχαιοτήτων
Ακροπόλεως,
εργασίες
στα
μνημεία»,
ΑΔ
38,
pp.
10-11.
Κορρές,
M.
2002.
«Aθηναϊκή
πολεοδομία,
αρχαίος
οικιστικός
χώρος»,
in:
Goette,
H. (ed),
Ancient
Roads
in
Greece,
Proceedings
of a
Symposion
Organized
by
the
Cultural
Association
Aigeas
(Athens)
and
the
German
Αrchaeological
Institute
(Athens)
with
the
Support
of
the
German
School
at
Athens,
Nov.
1998
(Hamburg),
pp.
1-31.
Κουμανούδης,
Στ.
1878-82.
«Έκθεσις
εν
τω
έτει
1879
πεπραγμένων
από
του
συμβουλίου»
ΠΑΕ,
pp.
6-15
, 18
-19.
Μπαρδάνης,
Μ.
1997.
Ο
πειραϊκός
λίθος
στα
μνημεία
της
Ακροπόλεως.
Ακτίτης
λίθος
και
λίθος
της
Μουνυχίας.
Αρχαιολογική
και
γεωλογική
έρευνα.
Μελέτη
των
ιδιοτήτων
και
της
παθολογίας
του
λίθου.
Προτάσεις
συντηρήσεως,
ΤΕΙ
of
Athens,
School
of
Fine
Arts
and
Design,
Conservation
of
Antiquities
and
Works
of
Art
Department,
dissertation.
Παπαθανασόπουλος,
Θ.
1987.
«Το
θέατρο
του
Διονύσου,
η
μορφή
του
κοίλου»,
in:
ΥΠΠΟ,
Αναστύλωση
–
Συντήρηση
-
Προστασία
μνημείων
και
συνόλων,
II,
pp.
31-60.
Ρουσσόπουλος,
Α.
pp.
1862-1874.
«Νεώταται
Ανακαλύψεις»,
ΑΕ.
Σωτηριάδης,
Γ.
1897.
In:
Παπαναστασίου
Π. «Έκθεσις
του
ταμείου
της
Αρχαιολογικής
Εταιρείας»,
1897,
pp.
12-14.
Τραυλός,
Ι.
1953-4.
«Η
παλαιοχριστιανική
Βασιλική
του
Διονυσιακού
Θεάτρου»,
ΑΕ,
1953-4,
II,
156-62.
Τραυλός,
Ι.
1960.
«Πολεοδομική
εξέλιξη
των
Αθηνών».
Bieber,
M.
1961.
The
history
of
Greek
and
Roman
Theater,
(Princeton
N.J.).
Bulle,
H.
“Untersuchungen
an
griechieschen
Theatern,
Das
Dionysos
Theater”,
Abhandal
der
Bayer.
Academ.
der
Wissenschaften,
xxxiii,
15-81.
De
Bernardi
Ferrero,
d.
1966-1974.
Teatri
classici
in
Asia
Μinore,
4
vols,
(Roma).
Dinsmoor,
W.B.
1928.
“The
Athenian
Theater
of
the
fifth
century”,
Studies
presented
to
D.M.
Robinson,
pp.
309-330
(Munich).
Dörpfeld,
W.
1896.
Das
griechische
Theater,
2nd
ed.
(1966).
Dörpfeld,
W.
1925-6.
“Die
im
Januar
1925
in
Dionysos-Theater
in
Athen
unternommenen
Grabungen”,
ΠΑΕ,
25-32.
Fiechter,
E.
1935.
Das
Dionysοs-Theater
in
Athen,
Ι,
Die
Ruine,
Αntike
Griechische
Theaterbauten
heft
5.
Gogos,
S.
1998
“Bemerkungen
zu
den
Theatern
von
Priene
und
Epidauros
sowie
zum
Dionysostheater
in
Athen”,
Jahrsheften
des
österreichischen
archäologischen
Institutes,
67 ,
pp.
67-106.
Haigh,
A.E.
1898.
The
Attic
Theatre,
(Oxford).
Heilmeyer,
W.D.
1987.
“Vom
modernen
Mißverstädnis
antiker
Theaterbauten”,
Antike
Welt,
18 ,
p.
22-28.
Leake,
W.
M.
1841.
The
topography
of
Athens,
(London).
Kunze,
E.
1967.
“Die
Arbeiten
vom
Herbst
1958
bis
zum
Sommer
1962”,
Olympia
–
Bericht,
VIII,
1-15.
Makri,
H.
1987.
“The
Theatre
of
Dionysos,
Athens:
The
rehabilitation
of
the
auditorium
retaining
walls
along
and
adjoining
the
eastern
parodos”
(summary)
(Athens).
Maass,
M.
1972.
Die
Prohedrie
des
Dionysostheaters
in
Athen,
(München).
Mitens,
K.
1988.
Teatri
greci
e
teatri
ispirati
all’
architettura
greca
in
sicilia
e
nell’
Italia
meridionale
c.
350-50
a.c.,
Analecta
romana
institute
danici
supplementum
xiii
(Roma).
Modona,
A.
N.
1961.
Gli
edifici
teatrali
greci
e
romani,
(Firenze).
Rossetto,
P.
C.-Sartorio,
G.
P.
1994.
Teatri
antichi
greci
e
romani,
3
vols,
(Rome).
Pickard-Cambridge,
A.W.
1946.
The
Theatre
of
Dionysus
in
Athens,
(Oxford).
Polacco,
l.
1990.
Il
teatro
di
Dioniso
Eleutereo
ad
Atene,
Monografie
della
Scuola
Archeologica
di
Atene
e
delle
missioni
italiane
in
Oriente
iv.
Townsend,
R.F.
1982.
Aspects
of
Athenian
Architectural
Activity
in
the
Second
Half
of
the
Fourth
Century
B.C.,
PhD
at
the
University
of
North
Carolina
at
Chapel
Hill.
Townsend,
R.
1986.
“The
fourth-century
skene
of
the
theater
of
Dionysos
at
Athens,
Hesperia,
55 ,
pp.
421-440.
Wilson,
P.
2000.
The
Athenian
Institution
of
Khoregia,
(Cambridge).
Wurster,
W.
1979.
“Die
neuen
Untersuchungen
am
Dionysostheater
in
Athen”,
Architectura,
9,
pp.
58-76.
Wurster,
W.
1993.
“Die
Architektur
des
griechischen
Theaters”,
Antike
Welt,
24,
pp.
20-42. |
| Location |
South
slope
of
the
Acropolis,
Athens. |
| Dating |
The
theatre
only
acquired
its
gigantic,
wholly
stone-built
expanse
after
the
mid-4th
century
BC,
under
Lycourgos.
Various
conjectures
have
been
suggested
at
various
times
to
explain
the
geometrical
shape
of
the
cavea
in
the
5th
century.
The
most
widely-accepted
scientific
views
are
based
mainly
on
excavation
data.
Under
Lycourgos,
the
stage
of
the
Theatre
of
Dionysos
was
converted
into
a
stone
building
for
the
first
time.
The
greater
part
of
the
Theatre,
with
the
stone
cavea
and
the
retaining
walls
of
its
parodoi,
was
not
altered
in
Hellenistic
times,
but
the
stage
was
rebuilt
during
that
period.
In
the
Roman
period
a
new
scenic
structure
was
raised
in
place
of
the
old,
while
the
orchestra
became
horseshoe-shaped,
was
paved
with
marble
slabs,
and
was
encircled
by a
vertical
balustrade.
Its
south
side
was
subsequently
delimited
by
the
so-called
“Bema
of
Phaedros”,
a
logeion
probably
dating
to
the
3rd
century
AD.
Drastic
interventions
of
the
Roman
period
are
visible
in
the
lower
sections
of
the
central
cunei.
On
the
central
axis
of
the
Theatre,
in
the
second
tier
of
seats,
there
is a
large,
square,
inscribed
base
for
a
bronze
statue. |
|
General Description of Monument
|
The
monument
forms
an
integral
part
of
the
Sanctuary
of
Dionysos,
directly
connected
to
the
myths
and
cult
of
the
god.
Its
overall
shape
was
irregular,
affected
on
the
east
side
by
the
much
earlier
Odeon
of
Pericles,
which
the
theatre
adjoins,
and
on
the
west
by
the
need
to
retain
an
important
ascending
road.
The
basic
layout
of
the
monument
is
as
follows:
14
radiating
flights
of
steps
divide
the
cavea
into
13
wedge-shaped
sections,
the
cunei,
of
which
the
outermost,
with
no
curvature,
are
narrower.
In
the
centre
of
the
tier
of
seats
of
honour
(proedriae)
rises
the
marble
throne
of
the
Priest
of
Dionysos.
Below
this
and
extending
to
the
outermost
flights
of
steps
are
33
thrones
on
either
side.
The
tiers
of
seats
consist
of
large,
well-dressed
stone
blocks
from
the
shore
of
Piraeus.
Today
the
remains
of
seats
are
preserved
up
to
and
including
the
34th
tier,
while
it
is
estimated
that
there
were
67
tiers
of
seats
reaching
the
height
of
the
ancient
walk.
|
| Current Situation |
All
that
remains
of
the
cavea
today
is
small
parts
of
the
gigantic
original
work:
the
lower
tiers
of
seats,
the
lower
parts
of
the
retaining
walls
and,
much
higher
up,
the
great
cutting
in
the
rock
along
an
arc
of a
circle,
known
as
the
katatome.
The
orchestra
is
preserved
in
better
condition,
while
the
scenic
structure,
with
scattered
members,
is a
low
ruin. |
| Excavations - Interventions |
The
Theatre
of
Dionysos
was
completely
abandoned
after
the
end
of
antiquity,
while
during
the
course
of
the
medieval
period
its
traces
gradually
vanished
under
infill
which
was
preserved
until
the
late
19th
century.
The
actual
location
of
the
monument
was
first
noted
by
Chandler
in
1765
and
by
Bartholemy
shortly
afterwards,
while
it
was
identified
definitively
by
Leake
in
1841.
The
first
excavation
in
the
area
of
the
Theatre
of
Dionysos
was
undertaken
by
Roussopoulos
and
the
German
architect
Strack
in
1862
and
lasted
three
years.
Excavations
were
continued
in
1877-8
by
S.
Koumanoudes.
The
German
Archaeological
Institute,
under
Dörpfeld’s
supervision,
subsequently
undertook
to
complete
the
excavations,
which
continued
in
1885-6,
1889,
1893
and
1895.
There
followed
investigations
of
the
stage
and
orchestra
in
1923,
the
excavation
of a
large
part
of
the
Odeon
of
Pericles
in
1925,
and
supplementary
explorations
by Dörpfeld
in
the
southwest
corner
of
the
cavea.
The
German
Archaeological
Institute
with
E.
Fiechter
and
his
colleagues
continued
the
investigation
of
the
orchestra
and
stage
in
1927,
1929
and
1933.
Finally,
in
1951
Travlos
investigated
the
area
southeast
of
the
monument,
where
a
small
Early
Christian
basilica
of
the
6th
century
was
discovered.
In
1897,
under
the
supervision
of
Sotiriades,
then
curator
of
the
Acropolis,
the
first
works
for
the
protection
and
promotion
of
the
monument
were
undertaken.
Following
a
long
hiatus,
small-scale
works
were
undertaken
in
the
1960s.
In
the
first
years
after
the
restoration
of
democracy,
under
the
pressure
of
the
state
of
near
collapse
to
which
the
east
parodos
retaining
wall
had
been
reduced,
the
Ministry
of
Culture
formed
a
scientific
committee
which
assigned
the
study
of
the
monument
to
W.
Wurster.
After
1980,
work
on
the
monument
was
carried
out
under
the
supervision
of
M.
Korres,
who
continued
Wurster’s
work,
alongside
interventions
and
further
investigation.
In
1984
the
Committee
for
the
Conservation
of
the
Theatre
of
Dionysos
was
set
up,
continuing
restoration
work
on
various
parts
of
the
monument
to
the
present
day.
|
| Permitted Uses |
Simple
visit. |
|
History of Modern Uses |
The
Theatre
of
Dionysos
heads
the
list
of
unused
monuments
of
the
Ministry
of
Culture,
and
after
the
restoration
of
democracy
the
signatures
of
eminent
figures
from
the
entire
intellectual
world
of
the
country
prevented
its
use
at
the
last
moment. |
| Further Information |
Issues
relating
to
restoration
and
conservation
are
handled
by
the
Committee
of
the
Theatre
&
Sanctuary
of
Dionysos
and
the
Asklepieion. |
| Intellectual Rights |
Ministry
of
Culture
/ 1st
Ephorate
of
Prehistoric
and
Classical
Antiquities |
| Jurisdiction |
The
monument
belongs
to
the
jurisdiction
of
the
Ministry
of
Culture
/ 1st
Ephorate
of
Prehistoric
and
Classical
Antiquities,
while
issues
relating
to
its
restoration
and
conservation
are
handled
by
the
Committee
of
the
Theatre
&
Sanctuary
of
Dionysos
and
the
Asklepieion. |
|
Latitude |
23o42'37'' |
| Longitude |
37o57'42'' |
| Altitude |
0 |
