Epidaurus Theater: Architectural Marvel of Ancient Greece
330 BC
Style
Greek classical style. Architect: Polykleitos the Younger. Materials used: stone. Construction system: arquitravat. Location: Epidaurus in the Peloponnese (Greece)
1 – Modified previous constructive techniques and adapted them to new principles of order and reason, and the principle of adapting buildings to the scale of man.
2 – Researched the constant of beauty and perfection from the balance of forms and elements that compose it.
3 – Used a constructive system in which arquitravat predominantly featured horizontal and vertical lines, structured from the superposition of three fixed elements: base, shaft, and entablature, which differ in the architrave, cornice, and the curl and pediment.
4 – Joined the ratios for achieving total visual harmony and symmetry. To achieve this, they used complex mathematical calculations with which they could correct many optical illusions, almost imperceptibly curving rigid elements of the building.
5 – The most notable change was the entasis created in the center of the shaft of the columns, so from afar the human eye perceives the spine as straight.
Construction
The theater of Epidaurus’ constructive system is arquitravat. Built on a hill, its structure is divided into three distinct parts: the orchestra (circular), the stalls area, and scenic constructions (proscenium and stage). The first space, fully circular, has sandy soil and initially had an altar stone at its center. Around it, occupying nearly two-thirds of its circumference, are the cavea (120m diameter), which rises 24m, building on the steep slope of the mountain. The orchestra was where the chorus sang and danced, but was also the space for the altar, in this case dedicated to the god Dionysus.
The scene of the theater of Epidaurus has not been preserved, but it is stated that it was an Ionic portico that was 4m high x 2m deep. It is also unknown whether the proscenium (high space where the actors acted, located between the fixed elements of the scene and orchestra, accessed via two side ramps) was added later. Generally, it had a rudimentary curtain so that the sets could vary or changes could be made. Elements of support: the Greeks took advantage of the natural slope of the hills close to the city to build the tiers of theaters. In the stands of Epidaurus, due to its dimensions, containment side walls had to be built.
Design
The theater of Epidaurus had no cranes. It was accessed through two sides, giving access to an aisle located between the orchestra and the stage, allowing the passage of the public to the stalls area. Inside, there are two areas divided by a corridor: the bottom, divided into 12 parts separated by 13 steps that allow radial displacement for the 34 stands, and the top with 22 sectors of 20 stands with their respective scales interspersed. A total of 15,000 people could be accommodated, with two types of seating: the common, consisting of smooth stone benches, and the seats for political figures, with reinforced back and arms. The construction of theaters was based on a series of precise mathematical calculations, such as the golden ratio and Fibonacci series.
The Greek architects excelled in the conception of urban grandeur and virtuosity, succeeding by uniting sculpture and architecture, but not for their technical innovations. They reproduced old arquitravat-based structures and left the task of exploring arches, vaults, and later, the dome, to the Romans, who also worked with materials like brick and concrete, much more malleable than stone. However, the Romans adopted characteristics of Greek theater to raise their own theatrical venues; in fact, many Roman theaters are copies of Greek ones, though with slight modifications, such as the orchestra sometimes being circular.
Meaning
The Greek plays performed in that scene were part of the festivities held in honor of Dionysus, the god of wine and revelry. Initially, the theater had a religious purpose and was where offerings were made to the god of the festival.
In early plays, the chorus’s action in explaining the heart was central, while the actors had a secondary role. Therefore, the orchestra space was important, and the proscenium occupied a less prominent place. Later, the actors were in the orchestra, but as they gradually gained importance, they were placed in a higher position, the proscenium. Over time, Greek theaters were adapted to new forms of theater, culminating in works where the chorus had practically disappeared (early fourth century BC.).
Thanks to its excellent state of preservation, the theater of Epidaurus illustrates the evolution of classical theater architecture to Hellenistic forms, which increased the size of the cavea and elevated it above the proscenium and orchestra level.
These changes were certainly the model for many other theaters later, both Greek (theater of Segesta in Sicily) and Roman, although the latter had slight structural changes in the orchestra and the stage.
The theater of Epidaurus is considered one of the best ever built. The acoustics are excellent, as the farthest row can hear perfectly what is said on stage. In addition, the view is magnificent from any seat.
There were two types of seats: those for common people and those for the elite and other great men. The important people had reserved seats with arms and back.
Function
To represent plays that were part of the festivities held in honor of Dionysus. People went there to hear the best tragedies of Sophocles, Euripides, and Aeschylus. Epidaurus was also famous because it was near the Sanctuary of Asclepius, god of medicine.
e) 1. Greek theaters were built using the slope of a mountain; however, Roman theaters did not take advantage of this.
2. Greek theaters were places where tragedies and comedies were represented; however, Roman theaters were designed for entertainment.
3. Greek theaters have a central orchestra, while Roman theaters have a semicircular one.
4. In Rome, stairs accessed the interior, while in Greece and Rome, exteriors were used. The highest buildings match the diameter of the orchestra’s semicircle.