theatgeo

Theatre Geometry

Geoff Stennett

As a starting point in analysing the geometry of the theatre at Paphos, it is helpful to compare it with the traditional Greek and Roman models established by Vitruvius.

When the geometrical configuration of the radial stairways is examined, the Paphos theatre most resembles the Vitruvian Roman model: that is 7 radial stairways divide the cavea into 6 wedges or cunei, each of approximately 30 degrees with a stairway coinciding with the axial line of the theatre. In his Greek model there is an even number of radial stairways, i.e. a stairway does not coincide with the theatre axis.

We should be careful however and understand that what Vitruvius produced were idealised models, and while many theatres conformed to this geometry, some did not. For example the Greek theatres of Epidaurus, Assos and Corinth have a central stairway, while the Roman theatres of Aspendos and Bosra, for example, do not.

At Paphos the less defined of the two exposed stairways lies on the eastern edge of the central bedrock section of the cavea. Little of this stairway remains in the area so far excavated. It forms equal angles with the end retaining walls and a right angle with the remains of the stage building, ie it lies on the theatre axis. To the west, the second exposed stairway lies at an angle of approximately 30 degrees to the first, and although partly quarried and incised with what seem to be tracks for a trolley to remove quarried stone, is well defined from the orchestra level to the 24th tier of seating.

From analysis of other theatres it seems quite clear that the geometry revealed at Paphos indicates a cavea of 7 radial stairways dividing the 181.5 degree angle subtended by the end retaining walls into 6 cunei or wedges each of approximately 30 degrees.

When we examine the remains of the stage building Vitruvian geometry can again be used as an aid. The Vitruvian Roman model placed the front of the stage platform on the diameter line of the orchestra, whereas the Greek model placed the stage platform much further away from the centre of radius of the orchestra, reflecting the larger orchestra area of the Greek theatre. Although not coinciding with the diameter line (3.9m to the south) the proximity of the proscaenium wall to the centre of radius may suggest it is Roman and not Hellenistic.

Theatre Geometry
Geoff Stennett
As a starting point in analysing the geometry of the theatre at Paphos, it is helpful to compare it with the traditional Greek and Roman models established by Vitruvius. When the geometrical configuration of the radial stairways is examined, the Paphos theatre most resembles the Vitruvian Roman model: that is 7 radial stairways divide the cavea into 6 wedges or cunei, each of approximately 30 degrees with a stairway coinciding with the axial line of the theatre. In his Greek model there is an even number of radial stairways, i.e. a stairway does not coincide with the theatre axis. We should be careful however and understand that what Vitruvius produced were idealised models, and while many theatres conformed to this geometry, some did not. For example the Greek theatres of Epidaurus, Assos and Corinth have a central stairway, while the Roman theatres of Aspendos and Bosra, for example, do not.
At Paphos the less defined of the two exposed stairways lies on the eastern edge of the central bedrock section of the cavea. Little of this stairway remains in the area so far excavated. It forms equal angles with the end retaining walls and a right angle with the remains of the stage building, ie it lies on the theatre axis. To the west, the second exposed stairway lies at an angle of approximately 30 degrees to the first, and although partly quarried and incised with what seem to be tracks for a trolley to remove quarried stone, is well defined from the orchestra level to the 24th tier of seating. From analysis of other theatres it seems quite clear that the geometry revealed at Paphos indicates a cavea of 7 radial stairways dividing the 181.5 degree angle subtended by the end retaining walls into 6 cunei or wedges each of approximately 30 degrees. When we examine the remains of the stage building Vitruvian geometry can again be used as an aid. The Vitruvian Roman model placed the front of the stage platform on the diameter line of the orchestra, whereas the Greek model placed the stage platform much further away from the centre of radius of the orchestra, reflecting the larger orchestra area of the Greek theatre. Although not coinciding with the diameter line (3.9m to the south) the proximity of the proscaenium wall to the centre of radius may suggest it is Roman and not Hellenistic.