Theatre Design & Technology - Summer 1980 - 9

vian plan and seats from 5,500 to 6,000 people. The capacity
of the theatre has been estimated using a figure given on a
marble plaque found in the theatre that indicates the number
of persons expected to fit in the first row.'s Like the Roman
theatres in Aspendos and Fiesole, this theatre was built partly
in a hillside, in contrast to Roman theatres with an entirely
freestanding structure like the famous theatre at Orange and
the Theatre of Marcellus in Rome. The thirteen vomitoria
which are seen in the exterior wall of the cavea are about
thirty feet higher than the level of the orchestra. The theatre in
Merida has a markedly plain exterior wall, unlike more elaborately decorated theatres such as the Theatre of Marcellus
with its colonnades and engaged columns. The granite facing
has been partially replaced and the vomitoria have all been repaired. Originally above each was the dedication to Agrippa in
gilded bronze letters, many of which were found in the theatre
but have not been put into place.'9
The cavea is divided into six cunei, or sections, by seven
flights of stairs that have not all been replaced yet. There are
thirty-two rows of seats which are 2'4" wide, and l' high.
These measurements were based on those of the three rows
of seating that were found in place. 20 There are twenty-three
rows in the ima cavea, and above it are the five rows of the
media cavea which is backed by a balteus 6' 6" high and in
excellent condition. Above the media cavea are the four rows
of the summa cavea. This is the area of the theatre most in
need of further work. The broken sections need to be repaired
and the seating has to be restored. The summa cavea ends in
a plain or platform which is presently a little over 4' wide. With
the replacement of the missing seating it should have a width
of about 6'6". It is surmised that there may have originally
been a gallery of columns in this space, but no evidence of
that or of any cover for the theatre remains. 21 The placement
of the cavea in the hillside, as previously mentioned, was
based on the wish to gain protection from the wind, and for
the acoustical quality which is excellent. The structure is a
perfect level semicircle. Because the ground was lower on the
eastern side, a stairway had to be built leading up to the vomitoria nearest to the orchestra.
The orchestra is also a perfect semicircle with a diameter of
57'. At is outer edge are three rows 6" high which may have
been filled with movable seats, all of which have disappeared.
GriHin heads of bone were discovered in the theatre and may
have been part of the arms of these seats. 22 Behind the last
row are holes for posts supposed to have supported a marble
wall or screen to establish the orchestra as a separate place
for oHicials or guests of honor. Melida theorized that the last
row of seating might have been a bench that butted against
the screen and used it as a back. 23
The aditus maximus leading to the orchestra at either side
is covered with an arch, but no tribunalia have been reconstructed above. At the edge of the orchestra is the proscaenium which extends along the front of the pulpitum 136'
and is 3' 3" high. In the front of the proscaenium are twelve
rectangular holes 9' 9" apart and in which were found pieces
of wood and nails. It is supposed that these holes were for
posts used to raise a curtain. 24 The proscaenium is divided
into nine compartments: three semicircular alternating with six
rectangular. The extreme rectangular compartments hold two
restored staircases leading to the stage, or pu!pitum. It forms
an elongated parallelogram 195' by 22' 9". Its ends are open
as the paraskenia and the itinerara versurarum, or side entrances, have not been restored. 25
Many of the elements described above are seen as clearly
in other Roman theatres in Europe, such as those in Fiesole or
Pompeii, but the special quality of the theatre in Merida is the
complete effect of the scaenae frons with the original columns, capitals and statuary giving a rich and exciting picture
of the theatre as it was originally constructed. The elegant entablature has a simple but rich design alternating the egg and
USITI /Summer, 1980

dart motif with an acanthus leaf motif. The scaenae frons is
composed of two colonnades of thirty-two columns with Corinthian capitals on each level. The lower colonnade is built on a
base 8' high and is itself 25' 2" high including the pedestals,
columns, and the entablature. The upper colonnade is 16'
high. There are three elaborate portals in deeply recessed

niches designated by Fiechter as typical of the Western type
of Roman theatre. 26 The valva regia in the center is 8' wide
with a staircase down to the pulpitum. The hospitalia are 39'
distant on either side, and are 5' 2" wide, each with a staircase down to the pulpitum. When the theatre was excavated,
thirteen statues from the scaenae frons were found in the
earth in front of it. They are now in the Archaeolog.ical Mu-

Theatre Design & Technology

7



Table of Contents for the Digital Edition of Theatre Design & Technology - Summer 1980

Contents
Theatre Design & Technology - Summer 1980 - 1
Theatre Design & Technology - Summer 1980 - 2
Theatre Design & Technology - Summer 1980 - 3
Theatre Design & Technology - Summer 1980 - Contents
Theatre Design & Technology - Summer 1980 - 5
Theatre Design & Technology - Summer 1980 - 6
Theatre Design & Technology - Summer 1980 - 7
Theatre Design & Technology - Summer 1980 - 8
Theatre Design & Technology - Summer 1980 - 9
Theatre Design & Technology - Summer 1980 - 10
Theatre Design & Technology - Summer 1980 - 11
Theatre Design & Technology - Summer 1980 - 12
Theatre Design & Technology - Summer 1980 - 13
Theatre Design & Technology - Summer 1980 - 14
Theatre Design & Technology - Summer 1980 - 15
Theatre Design & Technology - Summer 1980 - 16
Theatre Design & Technology - Summer 1980 - 17
Theatre Design & Technology - Summer 1980 - 18
Theatre Design & Technology - Summer 1980 - 19
Theatre Design & Technology - Summer 1980 - 20
Theatre Design & Technology - Summer 1980 - 21
Theatre Design & Technology - Summer 1980 - 22
Theatre Design & Technology - Summer 1980 - 23
Theatre Design & Technology - Summer 1980 - 24
Theatre Design & Technology - Summer 1980 - 25
Theatre Design & Technology - Summer 1980 - 26
Theatre Design & Technology - Summer 1980 - 27
Theatre Design & Technology - Summer 1980 - 28
Theatre Design & Technology - Summer 1980 - 29
Theatre Design & Technology - Summer 1980 - 30
Theatre Design & Technology - Summer 1980 - 31
Theatre Design & Technology - Summer 1980 - 32
Theatre Design & Technology - Summer 1980 - 33
Theatre Design & Technology - Summer 1980 - 34
Theatre Design & Technology - Summer 1980 - 35
Theatre Design & Technology - Summer 1980 - 36
Theatre Design & Technology - Summer 1980 - 37
Theatre Design & Technology - Summer 1980 - 38
Theatre Design & Technology - Summer 1980 - 39
Theatre Design & Technology - Summer 1980 - 40
Theatre Design & Technology - Summer 1980 - 41
Theatre Design & Technology - Summer 1980 - 42
Theatre Design & Technology - Summer 1980 - 43
Theatre Design & Technology - Summer 1980 - 44
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