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PUBLIC BUILDINGS - THEATRES. POMPEII HERCULANEUM PERFORMANCES AND ACTORS.
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PUBLIC BUILDINGS - THEATRES POMPEII HERCULANEUM PERFORMANCES AND ACTORS
The Theatre complex in Pompeii is located in the city’s south, a short distance from the forum. It includes the large Great Theatre, the smaller covered Odeon, and the spacious foyer area adjoining the two. The Great Theatre hosted various performances and events, including Greek and Roman comedies and tragedies, farces, and mimes. The Odeon was used for recitals and oratory displays. The impressive architecture and lavish decoration of the theatres, as well as evidence of extensive patronage of theatre performances by influential families indicates the significance of theatres as public buildings in Pompeii. Theatres in Pompeii
Aerial photograph of the Pompeii Theatre complex • This photograph shows the Great Theatre, Odeon, and adjoining quadriporticus. • The size of the area dedicated to these buildings in the city of Pompeii indicates the significance of theatre as a social and cultural aspect of life in Pompeii. The size of the quadriportico area suggests that performances were very well attended.
the great theatre • The Great Theatre had an estimated seating capacity of around 5000. This number has been used, along with other public buildings, to gauge an approximation of Pompeii’s population.
The heirarchal seating order introduced by Augustus can be observed at the Odeon.The widest tiers nearest the stage were reserved for authorities, prominent individuals and politicians. The largest, middle section was for freeborn men, and the highest section for women. This arrangement had implications in general social and political life. The Odeon
“The voice is like a flowing breath of air.. It moves by the endless formation of circles… the voice advances horizontally and mounts upward step by step…so long as no obstacle interferes, they will reach the ears of the spectators without echoing, those in the lowermost seats as well as those in the highest. Therefore, the architects…perfected the stepped seating of theatres after their research into the rising of the voice” Vitruvius refers to the acoustic perfection of the Roman theatre design used in Pompeii. The applications of this architectural and engineering knowledge are evidence of the Roman and Greek architectural influences in Pompeii. Vitruvius, De Architectura, V.3, 6-8
Performances and actors • Theatrical performances were significant events in Pompeii and Herculaneum. • Performances were sponsored by magistrates, often for religious festivities, the dedication of a monument, a funeral, or other occasions. They included traditional tragedies and comedies, farces, and mime. They also featured well-known actors, special effects such as fire and smoke, perfumed water and awnings for audiences, and appearances from influential families and politicians. • The range of sources on performances and actors give detailed information on the social, political, and cultural aspects of Pompeii and Herculaneum associated with the popularity of the theatre.
A mosaic by Dioskourides of Samos depicts a scene from a Greek comedy, found in the Villa of Cicero. This source is evidence of the type of dramatic performances that may have been taken place in the theatres at Pompeii and Herculaneum – for example, traditional Greek drama. Mosaic From Villa of Cicero (3rd Century)
This portrait in bronze, or bust, depicts a famous actor of the 1st century, Norbanus Sorex. It was found in the Temple of Isis in Pompeii. The fact that a depiction of an actor was included in one of Pompeii’s most important religious buildings is testament to the extreme popularity and significance of actors and theatre in Pompeii and Herculaneum. Bronze portrait bust of actor from Temple of Isis, Pompeii
This sculpture of a theatrical mask was found in excavations at Herculaneum. Masks similar to this one would have been used in traditional performances for different characters and for amplifying the voice. This source, and similar theatrical motifs in decorations of houses and buildings in both towns, establishes the importance and popularity of theatre, as well as giving information about the nature of performances. Theatrical mask from the courtyard of the House of Neptune and Amphitrite, Herculaneum
“Paris, pearl of the stage” “Unsurpassed Paris, triumph!” “I beg you to make Gais Cuspius Pansa Aedile. Purpurio, with the fans of Paris” Graffiti on tomb facades near the amphitheatre and along the Street of abundance in Pompeii refer to a particularly well – known actor, Paris. These sources give evidence about the social aspects of the theatre. Fan clubs for favourite actors existed, and performers would travel from town to town. The 3rd inscription also suggests that the theatre was an important political tool and social indicator. Graffiti referring to famous actor, Pompeii
Theatre at Herculaneum • Herculaneum had a smaller, though possibly wealthier, population than Pompeii. The theatre there was one of the towns most impressive buildings, including a two-storey façade of arches and pillars. Gilded statues of emperors and influential individuals stood on top, and the interior contained lavishly decorated columns and statue niches • The well-preserved wealthy houses in Herculaneum contain a large number of theatrical references in artworks and decorations, and actors and performances are attested in graffiti. • The archaeological context of the theatre at Herculaneum offers insight on various aspects of cultural, social, and political structures.
This reconstruction of the Roman style theatre building at Herculaneum shows its distinctive features. The lavish design and decoration, as well as the size of the building, suggest that significant government funds and energy were directed towards theatrical pursuits. This source is particularly useful, as much of the valuable art and architecture from the theatre at Herculaneum was destroyed by early ‘excavators’, who were not concerned with preserving the building itself. Replica of Theatre at Herculaneum
"Raised to Marcus Nonius Balbus, son of Marcus, prætor and proconsul, by the decree of the decuriones." "The men of Herculaneum (raised this statue) to Marcus Nonius Balbus, son of Marcus, præor and proconsul." The Balbus family were highly influential and powerful in Herculaneum. Statues of Marcus Nonius Balbus and his son stood in the theatre, accompanied by these inscriptions. This source demonstrates the political dimension of the theatre. Political candidates sought popularity by staging events, and the public arena of the theatre was used to recognise those who had contributed to it and the city in general. Statue inscriptions referring to influential politicians and individuals, Herculaneum Theatre
This wall painting was found in a wealthy house on Herculaneum. It shows an actor holding props, and a traditional theatre mask. This fresco is typical of dramatic motifs from houses in Herculaneum. It once again emphasises the popularity of the theatre in the societies of Vesuvius, as well as giving details on the type of performances and devices used. Fresco depicting actor and theatre implements, Herculaneum
“Day was turned into night, and light into darkness;-an inexpressible quantity of dust and ashes was poured out, deluging land, sea, and air, and burying two entire cities, Pompeii and Herculaneum, while the people were sitting in the theatre.” Dio Cassius’ abbreviated account of the eruption of Vesuvius states that the people of Herculaneum were in the theatre when the events took place. This indicates that performances were still taking place right up until the eruption, and that they were attended in large numbers. However, the accuracy of Dio Cassius’ account is questionable. Dio Cassius, lib. lxvi.
