§ 10 The Stage-buildings in Roman Times
We have now followed the development of the stage-buildings from the old wooden erections of the fifth century to the more solid and elaborate structures of the Hellenistic period. All that remains is to trace their history during the later ages of Roman supremacy. We have shown that at Athens the stage-buildings were practically reconstructed after the Roman fashion in the time of Nero. The same tendency had already become prevalent in other places at a much earlier period. After the middle of the first century B.C. most of the new theatres built by the Greeks were constructed in the Roman style. The majority of the old ones began about the same time to be altered and modified under Roman influence. This latter process, however, was never carried out universally. It was confined mainly to the more outlying parts of the Hellenic world, such as Sicily and Asia Minor. In Greece proper it was a comparatively rare occurrence. Athens and Argos are the only cities on the Greek mainland which are known to have Romanized their theatres. Still, looking at the Greek world as a whole, it may be said that from the time of the Christian era the great majority of Hellenic theatres were adapted to the Roman model. It was at this period that the stage-buildings began to be constructed on a more lofty scale, and their front adorned with the gorgeous architectural embellishments which we have previously described. Some idea of their magnificence may be obtained from the existing remains, and especially from those of the theatre at Aspendos, which is well preserved. A restoration of part of the interior of this theatre (Fig. 10) is here inserted.446 The back-wall erected at Athens in the time of Nero was of the same type, though smaller in size. Façades of this imposing character may perhaps be thought too elaborate for the back-wall of a theatre. When dramas were being performed, and they were covered with painted scenery, their architectural beauty would be concealed from the eyes of the spectators. But ancient theatres were regularly used, not only for dramatic performances, but also for various other purposes, both artistic and political. On such occasions, when the stage was without scenic decoration, the architectural grandeur of the back-wall would add greatly to the beauty of the stage-buildings, and form a pleasing object to the eye. Probably, too, at many of the dramatic exhibitions, when the action was laid before a temple or palace, painted scenery was dispensed with, and the architectural façade supplied an appropriate background.
It will be seen from the illustration that in the theatre of Aspendos there were five doors at the back of the stage. There was a large door in the centre, and two smaller ones on each side. The same arrangement was generally adopted in Graeco-Roman theatres. But Pollux and Vitruvius speak of three doors as the regulation number.447 Possibly, therefore, the five doors of the later theatres were not all used during the dramatic representations. When the stage was prepared for the performance of a play, the two doors on the outside may have been covered up with scenery; or temporary side-wings may have been erected in front of them. Another noticeable feature in the theatre of Aspendos is the roof over the stage. Traces of a similar roof are also found at Orange, and justify the conclusion that in most theatres of the Roman type the stage was covered over.448 Whether the same practice prevailed in the Hellenistic theatres there is no evidence to show. But the convenience of the arrangement is so obvious, that we can hardly doubt that it began to be employed at a comparatively early period.
In a large number of cases the process of Romanizing the Greek theatres was not carried out completely. Many theatres, whether built or reconstructed on the new model, still retained features which were essentially Greek. This was the case at Athens. The Greek stage was usually the same length as one diameter of the orchestra. The Roman stage was twice as long, and extended some distance into the wings of the auditorium on each side. There was no open space between the auditorium and the side-wings; the place of the old Greek ‘parodoi’ was supplied by vaulted subways. But at Athens, when the Neronian alterations were made, the stage was not prolonged in the Roman style, but remained of the same length as before. The entrances into the orchestra at a and g were thus left open (Fig. 3). In many other places, especially in Asia Minor, the Romanization was of a still more partial kind. In theatres such as those of Termessos, Perge, and Sagalassos the general outline of the building was hardly affected by the change. The front line of the stage was not pushed forward; the orchestra still remained nearly a complete circle; open passages were left between the auditorium and the stage-buildings. The only important alteration was in the size of the stage, which was lengthened at each end, and deepened by throwing the front of the stage-buildings farther back. The height of the stage was but slightly diminished. In a Roman theatre it was usually five feet. But the stages at Termessos, Sagalassos, and Patara vary from eight feet to nine, and were therefore very little lower than the ordinary stage of the Vitruvian type.449
These examples show how trifling in many cases was the difference between the Graeco-Roman theatres and those of the purely Greek type. They also throw some light on another question of considerable interest. In Roman theatres all performances were confined to the stage; the orchestra was given up to spectators of distinguished rank. It may be asked whether the Greeks, when they built their theatres in the Roman style, adopted the same custom. The answer seems to be that they did not. It is most improbable that theatres should have been constructed in Asia Minor with the old full-sized orchestra, unless this orchestra had been intended as a place for choral performances. The fact that in many of these theatres the stage was eight or nine feet high proves the same thing. If the spectators had been placed immediately in front of it, their view would have been very much obstructed. We know, too, that in the Athenian theatre, even after the Roman stage had been introduced, the marble thrones round the orchestra continued to be the chief seats of honour. Hence it is evident that the orchestra must have been still a place for the performers, and not a place for distinguished spectators. The chief purpose of the Greeks, in Romanizing their theatres, was to provide a deep and capacious stage for spectacles of the Roman type, such as pantomimes and pyrrhic ballets. The old Greek performances were given as before in the orchestra. As far as the drama is concerned, the orchestra would seldom be required at this period, the lyrical part of tragedy and comedy having now practically disappeared. But the choral and musical competitions still flourished as vigorously as ever, and these were kept to their original place, and not transferred to the stage.