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ANCIENT THEATRES - ANCIENT THEATRES' IDENTITY
HELLENISTIC
THEATRE OF
ANCIENT DION
Information
|
Description
of the Monument
|
Photo
Gallery
|
Scientific
report
 |
The theatre is located in the archaeological site of ancient Dion, in Pieria Prefecture.
It is a theatral structure with a typical Hellenistic
layout, consisting of an orchestra of beaten earth (conistra),
a stone drainage duct running around the orchestra, a cavea
and a stone stage building. |
|
|
|
Description of the Monument
The theatre is located on the archaeological site of ancient Dion, in
Pieria Prefecture.
It is a theatral structure with a typical Hellenistic layout, consisting of an orchestra of beaten earth (conistra), a stone drainage duct running around the orchestra, a cavea constructed with a fill of debris, and a stone stage building, which is preserved in very poor condition.
The “Olympia at Dion” were, for ancient Dion, the sacred city of the Macedonians, an event which, apart from references by ancient authors (Diodorus XVII,16, 3-4), is also attested by an inscription on display in the Dion Archaeological Museum, which refers to the holding of athletic and theatrical games. Archelaus added lustre to this festival, which lasted nine days in honour of the Nine Pierian Muses. He invited Euripides, who spent his final years in Macedonia, where he wrote the drama Archelaus and the Bacchae. These two plays were almost certainly performed at the theatre of Dion, in the sacred city of the Macedonians.
To this theatre of the time of Archelaus and Euripides belongs a row of seats, formed of an upright half-brick, as a front, and a whole brick, as a footing. This row is laid out on a different centre, and the orchestra to which is belonged must have been set a little higher than the modern one. The stage building of this theatre would have been wooden, like those of other contemporary Greek theatres. Part of a poros stone proedria dates from the same phase.
The theatre in
its surviving form is the result of renovation or rather rebuilding from the
foundations on the same site, which took place in the second half of the 3rd
century BC, when most Greek theatres acquired a stone stage building. More
specifically, the reconstruction must be linked to the destruction of Dion by
the Aetolians in 220 BC, in the reign of Philip V, who immediately aided in
rebuilding the sanctuaries and the city, endowing it with generous adornments.
This dating is confirmed by the form of the architectural members of the marble
proscenium, and by the large number of coins of Philip V found inside the
theatre.
A late phase, after the abandonment of the theatre and its stripping of useful
material in Roman times, is hard to date due to its rough construction and poor
state of preservation.
General Description of Monument
The
theatre of Dion has been extensively damaged by stone-robbing from antiquity
onwards, having been abandoned in the Roman imperial era, following the
construction of a new theatre next to the Sanctuary of Zeus. Nonetheless,
because it was not subject to Roman restoration, which would have covered or
eliminated elements of the Hellenistic phase, and due to the careful nature of
the excavation, valuable information has come to light, allowing firm
conclusions to be drawn.
The site of the theatre outside the city, in relation to the sanctuaries, its careful construction, the mechanical equipment it contained and its size (with an orchestra diameter of approximately 26 m), all denote its importance to the sacred city of the Macedonians and confirm historical evidence regarding the holding of theatrical competitions there.
The orchestra (conistra), delimited by the well-made stone drainage duct
running round it, had an earthen floor. The duct was open, and bridged only in
front of the central cuneus and the north parodos.
Apart from the fact that the cavea is set on artificial fill rather than a
hillside, as is the general rule in Greek theatres, it also has distinctive
tiers of seats, built of special bricks measuring 50x50x7 cm and placed one on
top of the other. Another characteristic feature is the absence of a retaining
wall at the ends of the cavea along the parodoi, which are set on an incline.
In
spite of its very poor condition, the stone stage building preserves several
features permitting its reconstruction and confirming the existence, location
and to some extent the function of several theatrical mechanisms used in ancient
theatres.
When Euripides came here from Athens, where he had implemented many innovative
scenic contrivances, he must have transferred his experiences to the theatre of
Dion, creating a tradition which best served the increased demands of the
theatrical competitions established by Archelaus. From Euripides’ time to the
latter half of the 3rd c. BC, when the stone stage building was
constructed, a technical expertise must have been acquired which was implemented
in the form of permanent mechanical equipment of the new stage of the theatre.
The excavation revealed Charonian Steps with a room at either end, one at the
proscenium and one roughly at the centre of the orchestra.
Parts of marble architectural members of the proscenium, which preserve traces
of colour, combined with elements of the façade, have allowed us to reproduce it
with great certainty.
To left and right of the centre of the stage building façade wall were
discovered the foundations of two large pillars measuring 2.70 x 2.70 m. On the
east side of the same wall were found four pits, in positions absolutely
symmetrical to the axis of the theatre. Two of the pits are square, left by the
removal of smaller pillars. The other two are round, left by the removal of
elements with a round cross-section.
In front of the south large pillar, at orchestra level, was revealed an ashlar
in situ, with a rectangular hole (16x22cm) in its centre, for placing a wooden
support. There were similar ashlars in front of the other large pillar and the
two smaller ones, where the pits left by their removal were found.
These features, together with other excavation data, resulted in the reproduction of the stage building. The two large pillars framed the opening of the “royal door” and also supported the platform of the theologeion. The two smaller pillars framed the doorways to right and left of the “royal door”, while the two round pits were set on the axes of two other doorways at either end of the stage building, in which, according to Julius Pollux, were set the revolving mechanisms of the periaktoi, triangular prisms used for automatic changes of scene during the play.
The two large pillars were used to support and assist the handling of the
mechane or geranos, the crane used to move the Deus ex machina,
and also to incorporate an internal staircase, giving actors unseen access to
the theologeion during the course of the play.
The vertical wooden supports set in the ashlars with rectangular holes, which
were located on the axes of the pillars, may, assuming that they had holes in
their lateral sides, have served as guides for the operation of fabric curtains.
These would have served as a kind of theatre curtain, divided into three, which
descended below the proscenium via a slit in the wooden floor of the logeion,
covering the front of the stage. It could also be manipulated invisibly under
the proscenium, as its pillars were covered by tableaux.
The division of this early stage curtain into three parts solved the problems
which the weight and swaying in the wind of a single, huge curtain would have
caused.
The stage building is in a poor state of preservation. With the implementation
of the study for the “Conservation, Promotion and Temporary Re-operation of the
Hellenistic Theatre of Dion” (1990-1991), consolidation work was carried out on
the surviving walls. The surviving tiers of brickwork seats have been covered
with earth because they were in danger of disintegrating rapidly if they
remained visible. Following the 1990-1991 work, the orchestra and the perimetric
drainage duct are in good condition and may be used for theatrical performances.
Prefabricated structures have been set up in the cavea to allow it to be used by
audiences.
The theatre is open to the public as a monument of the Dion archaeological site.
It is also used for approximately one month each year, during the Olympus
Festival, for plays approved by the Central Archaeological Council. The theatre
has a car park, mechanical equipment and dressing rooms.
History of Modern Uses
The theatre was reused for the first time in 1972. In 1975 it was used again for
a play starring A. Synodinou. From 1991, when the conservation-promotion and
temporary re-operation work was completed, to the present, it has been used
regularly in the context of the Olympus Festival.
G. Karadedos
Archaeologist, Architect
D. Pandermalis
Archaeologist
Photo
gallery
 |
Topographical plan |
 |
Aerial photograph |
 |
Reconstruction of the Hellenistic theatre of Dion. Terminology of its architectural elements and mechanical equipment |
Scientific
report
| Monument Name |
Hellenistic
Theatre
of
Ancient
Dion |
| Category |
Theatre |
| Brief Description |
A
theatral
structure
with
a
typical
Hellenistic
layout,
consisting
of
an
orchestra
of
beaten
earth
(conistra,
a
stone
drainage
duct
running
around
the
orchestra,
a
cavea
constructed
with
a
fill
of
debris,
and
a
stone
stage
building,
which
is
preserved
in
very
poor
condition. |
| Images - Plans |
Photographic
documentation
and
drawings
of
the
whole
monument
and
the
excavation
trenches,
from
1977
to
1992,
are
held
in
the
archives
of
the
Dion
University
Excavation.
They
were
prepared
by
architect-restorer
and
archaeologist
G.
Karadedos.
The
topographical
plan
is
the
work
of
topographers
K.
Toumakidis
and
I.
Gatzios.
There
are
also
several
aerial
photographs.
Reconstructions
of
the
logeion
and
the
whole
of
the
stage
building
are
found
in
the
Department
of
Architecture
of
the
Polytechnic
School
of
the
Aristotle
University
of
Thessaloniki. |
| Documentation - Bibliography |
M.W.
Leake,
Travels
in
Northern
Greece
III
(1835),
p.
409
Γ.
Σωτηριάδης,
«Ανασκαφή
Δίου
Μακεδονίας»,
Π.Α.Ε.
1928,
p.
78
Δ.
Παντερμαλής,
«Ανασκαφή
Δίου»,
Α.Δ.
26(1971),
Β΄
2
Χρονικά,
p.
401
Δ.
Παντερμαλής,
«Ανασκαφικαί
έρευναι
εις
Δίον»,
Α.Δ.
29(1973-1974),
Β΄
3
Χρονικά,
p.
699.
Γ.
Καραδέδος,
«Το
ελληνιστικό
θέατρο
του
Δίου».
Οι
αρχαιολόγοι
μιλούν
για
την
Πιερία,
ΝΕΛΕ
Πιερίας,
Θεσσαλονίκη,
1985,
p.
26-30.
Γ.
Καραδέδος,
«Το
ελληνιστικό
θέατρο
του
Δίου»,
Αρχαία
Μακεδονία
IV,
Ι.M.Χ.Α.,
Θεσσαλονίκη,
1985,
p.
325-340.
Γ.
Καραδέδος,
«Τελευταία
στοιχεία
για
τη
σκηνή
του
ελληνιστικού
θεάτρου
του
Δίου»Α.Ε.Μ.Θ.
5,
1991,
p.
157-169.
Δ.
Παντερμαλής,
Δίον.
Αρχαιολογικός
χώρος
και
μουσείο,
εκδόσεις
ΑΔΑΜ,
1997,
p.
30-33
(tourist
guide
to
the
whole
archaeological
site).
G.
Karadedos,
“Tecnologia
dell’antico
teatro
Greco”,
Eureka,
il
genio
degli
antichi,
Electa,
Napoli,
2005,
p.
186-191.
Γ.
Καραδέδος,
«Ένα
αυτοματοποιημένο
θέατρο
στην
υπηρεσία
των
θεατρικών
αγώνων
στο
Δίον,
την
ιερή
πόλη
των
Μακεδόνων»,
Α.Ε.Μ.Θ.
19,
2005,
p.
381-390. |
| Location |
Archaeological
site
of
ancient
Dion,
Dion
Municipality,
Pieria
Prefecture. |
| Dating |
The
“Olympia
at
Dion”
were,
for
ancient
Dion,
the
sacred
city
of
the
Macedonians,
an
event
which,
apart
from
references
by
ancient
authors
(Diodorus
XVII,16,
3-4),
is
also
attested
by
an
inscription
on
display
in
the
Dion
Archaeological
Museum,
which
refers
to
the
holding
of
athletic
and
theatrical
games.
Archelaus
added
lustre
to
this
festival,
which
lasted
nine
days
in
honour
of
the
Nine
Pierian
Muses.
He
invited
Euripides
(Genos
[Vita]2,
8f,
Schwartz),
who
spent
his
final
years
in
Macedonia,
where
he
wrote
the
drama
Archelaus
and
the
Bacchae.
These
two
plays
were
almost
certainly
performed
at
the
theatre
of
Dion,
in
the
sacred
city
of
the
Macedonians.
To
this
theatre
of
the
time
of
Archelaus
and
Euripides
belongs
a
row
of
seats,
formed
of
an
upright
half-brick,
as a
front,
and
a
whole
brick,
as a
footing.
This
row
is
laid
out
on a
different
centre,
and
the
orchestra
to
which
is
belonged
must
have
been
set
a
little
higher
than
the
modern
one.
The
stage
building
of
this
theatre
would
have
been
wooden,
like
those
of
other
contemporary
Greek
theatres.
Part
of a
poros
stone
proedria
dates
from
the
same
phase.
The
theatre
in
its
surviving
form
is
the
result
of
renovation
or
rather
rebuilding
from
the
foundations
on
the
same
site,
which
took
place
in
the
second
half
of
the
3rd
century
BC,
when
most
Greek
theatres
acquired
a
stone
stage
building.
More
specifically,
the
reconstruction
must
be
linked
to
the
destruction
of
Dion
by
the
Aetolians
in
220
BC,
in
the
reign
of
Philip
V,
who
immediately
aided
in
rebuilding
the
sanctuaries
and
the
city,
endowing
it
with
generous
adornments.
This
dating
is
confirmed
by
the
form
of
the
architectural
members
of
the
marble
logeion,
and
by
the
large
number
of
coins
of
Philip
V
found
inside
the
theatre.
A
late
phase,
after
the
abandonment
of
the
theatre
and
its
stripping
of
useful
material
in
Roman
times,
is
hard
to
date
due
to
its
rough
construction
and
poor
state
of
preservation. |
|
General Description of Monument
|
The
theatre
of
Dion
has
been
extensively
damaged
by
stone-robbing
from
antiquity
onwards,
having
been
abandoned
in
the
Roman
imperial
era,
following
the
construction
of a
new
theatre
next
to
the
Sanctuary
of
Zeus.
Nonetheless,
because
it
was
not
subject
to
Roman
restoration,
which
would
have
covered
or
eliminated
elements
of
the
Hellenistic
phase,
and
due
to
the
careful
nature
of
the
excavation,
valuable
information
has
come
to
light,
allowing
firm
conclusions
to
be
drawn.
The
site
of
the
theatre
outside
the
city,
in
relation
to
the
sanctuaries,
its
careful
construction,
the
mechanical
equipment
it
contained
and
its
size
(with
an
orchestra
diameter
of
approximately
26
m),
all
denote
its
importance
to
the
sacred
city
of
the
Macedonians
and
confirm
historical
evidence
regarding
the
holding
of
theatrical
competitions
there.
The
orchestra
(conistra),
delimited
by
the
well-made
stone
drainage
duct
running
round
it,
had
an
earthen
floor.
The
duct
was
open,
and
bridged
only
in
front
of
the
central
cuneus
and
the
north
parodos.
Apart
from
the
fact
that
the
cavea
is
set
on
artificial
fill
rather
than
a
hillside,
as
is
the
general
rule
in
Greek
theatres,
it
also
has
distinctive
tiers
of
seats,
built
of
special
bricks
measuring
50x50x7
cm
and
placed
one
on
top
of
the
other.
Another
characteristic
feature
is
the
absence
of a
retaining
wall
at
the
ends
of
the
cavea
along
the
parodoi,
which
are
set
on
an
incline.
In
spite
of
its
very
poor
condition,
the
stone
stage
building
preserves
several
features
permitting
its
reconstruction
and
confirming
the
existence,
location
and
to
some
extent
the
function
of
several
theatrical
mechanisms
used
in
ancient
theatres.
When
Euripides
came
here
from
Athens,
where
he
had
implemented
many
innovative
scenic
contrivances,
he
must
have
transferred
his
experiences
to
the
theatre
of
Dion,
creating
a
tradition
which
best
served
the
increased
demands
of
the
theatrical
competitions
established
by
Archelaus.
From
Euripides’
time
to
the
latter
half
of
the
3rd
c.
BC,
when
the
stone
stage
building
was
constructed,
a
technical
expertise
must
have
been
acquired
which
was
implemented
in
the
form
of
permanent
mechanical
equipment
of
the
new
stage
of
the
theatre.
The
excavation
revealed
Charonian
Steps
with
a
room
at
either
end,
one
at
the
proscenium
and
one
roughly
at
the
centre
of
the
orchestra.
Parts
of
marble
architectural
members
of
the
proscenium,
which
preserve
traces
of
colour,
combined
with
elements
of
the
façade,
have
allowed
us
to
reproduce
it
with
great
certainty.
To
left
and
right
of
the
centre
of
the
stage
building
façade
wall
were
discovered
the
foundations
of
two
large
pillars
measuring
2.70
x
2.70
m.
On
the
east
side
of
the
same
wall
were
found
four
pits,
in
positions
absolutely
symmetrical
to
the
axis
of
the
theatre.
Two
of
the
pits
are
square,
left
by
the
removal
of
smaller
pillars.
The
other
two
are
round,
left
by
the
removal
of
elements
with
a
round
cross-section.
In
front
of
the
south
large
pillar,
at
orchestra
level,
was
revealed
a
ashlar
in
situ,
with
a
rectangular
hole
(16x22cm)
in
its
centre,
for
placing
a
wooden
support.
There
were
similar
ashlars
in
front
of
the
other
large
pillar
and
the
two
smaller
ones,
where
the
pits
left
by
their
removal
were
found.
These
features,
together
with
other
excavation
data,
resulted
in
the
reproduction
of
the
stage
building.
The
two
large
pillars
framed
the
opening
of
the
“royal
door”
and
also
supported
the
platform
of
the
theologeion.
The
two
smaller
pillars
framed
the
doorways
to
right
and
left
of
the
“royal
door”,
while
the
two
round
pits
were
set
on
the
axes
of
two
other
doorways
at
either
end
of
the
stage
building,
in
which,
according
to
Julius
Pollux,
were
set
the
revolving
mechanisms
of
the
periaktoi,
triangular
prisms
used
for
automatic
changes
of
scene
during
the
play.
The
two
large
pillars
were
used
to
support
and
assist
the
handling
of
the
mechane
or
geranos,
the
crane
used
to
move
the
Deus
ex
machina,
and
also
to
incorporate
an
internal
staircase,
giving
actors
unseen
access
to
the
theologeion
during
the
course
of
the
play.
The
vertical
wooden
supports
set
in
the
ashlars
with
rectangular
holes,
which
were
located
on
the
axes
of
the
pillars,
may,
assuming
that
they
had
holes
in
their
lateral
sides,
have
served
as
guides
for
the
operation
of
fabric
curtains.
These
would
have
served
as a
kind
of
theatre
curtain,
divided
into
three,
which
descended
below
the
proscenium
via
a
slit
in
the
wooden
floor
of
the
logeion,
covering
the
front
of
the
stage.
It
could
also
be
manipulated
invisibly
under
the
proscenium,
as
its
pillars
were
covered
by
tableaux.
The
division
of
this
early
stage
curtain
into
three
parts
solved
the
problems
which
the
weight
and
swaying
in
the
wind
of a
single,
huge
curtain
would
have
caused. |
| Current Situation |
The
stage
building
is
in a
poor
state
of
preservation.
With
the
implementation
of
the
study
for
the
“Conservation,
Promotion
and
Temporary
Re-operation
of
the
Hellenistic
Theatre
of
Dion”
(1990-1991),
consolidation
work
was
carried
out
on
the
surviving
walls.
The
surviving
tiers
of
brickwork
seats
have
been
covered
with
earth
because
they
were
in
danger
of
disintegrating
rapidly
if
they
remained
visible.
Following
the
1990-1991
work,
the
orchestra
and
the
perimetric
drainage
duct
are
in
good
condition
and
may
be
used
for
theatrical
performances.
Prefabricated
structures
have
been
set
up
in
the
cavea
to
allow
it
to
be
used
by
audiences. |
| Excavations - Interventions |
The
first
test
trenches
in
the
theatre
area
were
dug
by
Professor
G.
Bakalakis
in
1970.
The
main
excavation,
however,
was
initiated
by
Professor
D.
Pandermalis
in
1973
and
continued,
after
a
two-year
break,
from
1977
to
1988
by
Associate
Professor
G.
Karadedos.
The
excavation
brought
to
light
the
orchestra,
the
perimetric
stone
drainage
duct,
the
parodoi,
a
major
part
of
the
cavea
around
the
drainage
duct,
and
the
stage
building.
In
1988,
although
the
excavation
of
the
cavea
had
not
been
completed
due
to
fears
the
theatre
would
be
taken
over
for
use
in
the
“Olympus
Festival”,
the
architect-restorer
and
archaeologist
G.
Karadedos
prepared
a
“Study
for
the
Conservation,
Promotion
and
Temporary
Re-operation
of
the
Hellenistic
Theatre
of
Dion”,
which
was
approved
by
the
Central
Archaeological
Council
and
implemented
in
1990-1991.
The
orchestra
and
the
perimetric
drainage
duct
were
restored,
the
surviving
walls
of
the
stage
building
were
conserved,
and
the
position
of
the
walls
which
had
been
completely
destroyed
was
marked
out
on
the
ground
with
a
layer
of
stones,
in
order
to
show
at
least
the
outline
of
the
stage
building.
The
position
of
the
logeion
was
also
indicated
by
making
its
floor
a
different
colour
to
that
of
the
orchestra.
The
Charonian
Steps
were
covered
in
such
a
way
as
to
be
open
to
the
public
and
useable
for
some
plays.
The
brickwork
tiers
of
the
cavea
seats
were
covered
over
to
protect
them,
as
they
could
not
be
conserved.
In
the
cavea,
at a
safe
distance
from
the
original
seats,
modern
prefabricated
tiers
of
seating
were
constructed,
with
the
intention
of
only
leaving
them
in
the
theatre
during
the
Festival
events
and
removing
them
afterwards,
in
order
to
keep
the
theatre
open
to
the
public.
The
study
allowed
for
the
possibility
of
continuing
excavations
in
the
cavea
and
the
removal
of
all
the
modern
structures
there,
if
this
were
considered
necessary
by
the
definitive
study
to
be
drawn
up
after
the
completion
of
the
excavations.
In
2008-2009,
following
new
approval
by
the
Central
Archaeological
Council
of a
study
by
architect-restorer
A.
Kapandriti,
the
modern
prefabricated
seating
was
extended
a
short
distance
into
the
space
between
the
original
seats
and
the
1990-1991
structures,
increasing
the
capacity
of
the
theatre
and
improving
audience
contact
with
the
actors,
which
had
been
problematic
due
to
the
distance
of
the
seating
from
the
orchestra. |
| Permitted Uses |
The
theatre
is
open
to
the
public
as a
monument
of
the
Dion
archaeological
site.
It
is
also
used
for
approximately
one
month
each
year,
during
the
Olympus
Festival,
for
plays
approved
by
the
Central
Archaeological
Council.
The
theatre
has
a
car
park,
mechanical
equipment
and
dressing
rooms. |
|
History of Modern Uses |
The
theatre
was
reused
for
the
first
time
in
1972.
In
1975
it
was
used
again
for
a
play
starring
A.
Synodinou.
From
1991,
when
the
conservation-promotion
and
temporary
re-operation
work
was
completed,
to
the
present,
it
has
been
used
regularly
in
the
context
of
the
Olympus
Festival. |
| Further Information |
- |
| Intellectual Rights |
The
monument
belongs
to
the
jurisdiction
of
the
Ministry
of
Culture. |
| Jurisdiction |
- |
|
Latitude |
- |
| Longitude |
- |
| Altitude |
- |
| Google Earth |
