Monday, 25 November 2013

Dodona









References
Tim Cooke (2010). The New Cultural Atlas of the Greek World. Marshall Cavendish. pp. 58–. ISBN 978-0-7614-7878-2.

Dana Facaros; Linda Theodorou (2003). Greece. New Holland Publishers. pp. 431–. ISBN 978-1-86011-898-2.

Christopher Wordsworth (bp. of Lincoln.) (1839). Greece: pictorial, descriptive, and historical. pp. 247–.



David Sacks; Oswyn Murray; Lisa R. Brody (2009). Encyclopedia of the Ancient Greek World. Infobase Publishing. pp. 115–. ISBN 978-1-4381-1020-2.

Marc Dubin; John Fisher; Nick Edwards; Geoff Garvey (2008). The Rough Guide to Greece. Rough Guides Limited. pp. 897–. ISBN 978-1-84836-804-0.

Michelin (2012). Greece Green Guide Michelin 2012-2013. MICHELIN. pp. 259–. ISBN 978-2-06-718214-1.


(PDF) J. Piccinini, Dodona at the time of Augustus, A few notes ...

Jessica Piccinini (2019). The Shrine of Dodona in the Archaic and Classical Ages. A History. eum. ISBN 978-88-6056-547-1.


Other names in the literature
Dhramisius, Dramyssus, Dramyssos,  Dramisios [Dramesii Δραμεσιοί]  = Dodona

William Martin Leake (1835). Travels in Northern Greece. Volume 1 Dhramisius: J. Rodwell. pp. 264–. 
 

The Ancient Greek Theatre Ruins at Dodona in Epirus

1. Introduction: The Sanctuary of Dodona and its Hellenistic Theatre

The sanctuary of Dodona, nestled in the region of Epirus in northwestern Greece, stands as a testament to the rich religious and cultural heritage of the ancient Hellenic world. Revered as the oldest oracle in Greece and second in prestige only to Delphi, Dodona held immense significance for over a millennium.1 Within this sacred landscape, the well-preserved Hellenistic theatre emerges as a central monument, captivating visitors with its grandeur and historical resonance.4 The construction of this monumental theatre is closely associated with King Pyrrhus of Epirus, a prominent figure of the 3rd century BCE, who played a pivotal role in the sanctuary's transformation through an ambitious building program.1 This report aims to provide a detailed analysis of the ancient theatre of Dodona, exploring its history, architectural features, function, current condition, and accessibility, drawing upon available scholarly research and archaeological findings.

2. Locating the Ancient Theatre of Dodona

The ancient theatre of Dodona is situated within the Epirus region of northwestern Greece, approximately 22 kilometers to the southwest of the modern town of Ioannina.4 Specifically, the theatre is located at the southwestern edge of a hilly terrain that runs through the Dodona valley.8 Its position lies on the eastern slopes of Mount Tomaros, also known today as Olytsikas, a prominent mountain in the region.1 The theatre has a southeast orientation.8 The precise geographical coordinates of the ancient theatre of Dodona are recorded as 39°32′47″N latitude and 20°47′16″E longitude 1, with alternative coordinates provided as 39.545767, 20.784949 38 and 39.5464362719, 20.7877314448.39

The theatre's placement at the base of Mount Tomaros is a characteristic feature of ancient Greek theatre design, leveraging the natural slope of the land to support the seating area.1 The southeast orientation may have been chosen to optimize viewing conditions by considering the path of the sun and potentially to take advantage of natural acoustics and ventilation patterns. The consistent recording of the theatre's coordinates across various sources underscores its recognized significance and the thoroughness of its archaeological documentation.

3. The Oracle's Seat: History of the Sanctuary and its Link to the Theatre

The sanctuary of Dodona boasts a history stretching back to the 2nd millennium BCE, potentially making it the oldest Hellenic oracle.1 While initially recognized as an oracle of Zeus, evidence suggests a possible earlier veneration of a Mother Goddess, identified as either Gaia or Dione.1 The divine will was communicated through diverse natural phenomena, including the rustling of leaves from a sacred oak tree, the flight patterns of birds, particularly doves, and the sounds emanating from vibrating copper cauldrons.1 Individuals seeking divine guidance would often inscribe their questions onto lead tablets, presenting them to the oracle for interpretation.1

Over time, Dodona's reputation extended beyond the region of Epirus, gaining national significance.8 Around 290 BCE, during the reign of King Pyrrhus, Dodona was elevated to the status of the religious capital of his domain.1 This period witnessed a significant building program initiated by Pyrrhus, which included the construction of the monumental theatre, alongside a stadium, civic edifices such as the bouleuterion and prytaneum, and various temples.1 The construction of the theatre in the early 3rd century BCE was intrinsically linked to the establishment and flourishing of the Naia festival during Pyrrhus' reign.1 The theatre was thus an integral component of Pyrrhus' endeavor to transform Dodona into a monumental panhellenic sanctuary.

4. Architectural Grandeur: Describing the Theatre Ruins

The ancient theatre of Dodona stands as one of the largest theatrical structures in Greece, with a cavea diameter reaching an impressive 136 meters 12 and a height of approximately 22 meters.6 Its seating capacity is estimated to have been between 15,000 and 18,000 spectators.1 The semicircular cavea, or seating area, is divided horizontally into three distinct sections by two concentric pathways known as diazomata.8 The upper section of the cavea is referred to as the epitheatron.8 The theatre originally featured a total of 55 rows of seats, distributed with 19 in the lower section, 16 in the middle, and 20 in the upper epitheatron.8 Vertically, the cavea is segmented into nine cunei, or wedge-shaped sections, in the lower and middle areas by ten stairways, while the epitheatron comprises 18 tiers.4 The first row of seats was reserved for VIP spectators and consisted of throne-like curved seats known as proedria.1

The orchestra, with a diameter of 18.72 meters (or 18.70 m), was carved into the natural rock and had an earthen floor.8 In its center stood the base of the altar dedicated to Dionysus, known as the Thymeli.1 A circular stone-made drainage channel surrounded the orchestra to collect rainwater.8

The stage building, or skene, was a rectangular two-story structure constructed in the isodomic masonry style.4 It featured a colonnade on its open front side and two square-shaped rooms, known as paraskenia, at either end.4 A door-like opening on the southern wall of the stage led to a Doric portico adorned with 13 octagonal columns.4 Following the Aetolian campaign of 219 BC, a stone-made proscenium with 18 Ionic pilasters was added to the façade.4

Unique architectural features included two monumental propyla, which flanked the entrances to the theatre lanes and were decorated with Ionic pilasters.8 Massive retaining walls, constructed in isodomic masonry, were built at the northeast of the theatre to support the Aetolian backfill and at the southwest for the construction of the stadium.4 During the reign of Augustus, the theatre underwent a significant transformation into an arena.1 This involved the removal of the lower tiers of seats and the proedria, the construction of a tall protective wall, and the creation of an elliptical arena with a diameter of 33.10 meters.1 This adaptation also led to the creation of two triangular compartments at the ends of the stage, likely used to house animals for the arena events.8

5. Materials and Methods: Unraveling the Theatre's Construction

The ancient theatre of Dodona was primarily constructed using two distinct types of limestone sourced locally from the Epirus region.8 The cavea, or seating area, was entirely covered with this limestone.8 The stage building, a prominent rectangular two-story structure, was also built using a sophisticated isodomic masonry technique, characterized by precisely cut stones of equal height.8 In contrast, the orchestra, the circular performance space, featured an earthen floor.8

It is suggested that the initial phase of the theatre's construction might have incorporated a wooden proskenion, a raised platform in front of the skene, which could have been removed after performances.8 During the later Roman modifications, particularly when the theatre was converted into an arena, lime mortar was employed in the construction of the protective wall and other alterations.40 While limestone was the dominant material for the theatre, other buildings within the sanctuary of Dodona utilized sandstone and conglomerate.79

Archaeological investigations have identified areas of quarrying activity in the vicinity of the sanctuary. One location is situated approximately 2 kilometers north of Dodona, near the modern village of Dodonoupoli, where shelves of quarried stone, roughly hewn blocks, and wedge holes in the rock face have been observed.79 Traces of conglomerate extraction have also been found in the southern part of the Dodona valley.79 It is possible that a better quality of limestone was sourced from the region between the present-day villages of Marmara and Grammenochoria, located about 18 kilometers from Dodona.79 Notably, the limestone found in the Dodona valley often contains veins of chert, a hard, glassy rock, which can be seen on the upper surfaces of the theatre's seats.79

The prevalent use of local limestone underscores its ready availability as a building resource in the Epirus region.2 The identification of specific quarry sites provides valuable insights into the logistical operations and economic activities that supported the construction of the theatre and the broader sanctuary complex. The variations in materials used during different phases of the theatre's history, such as the potential wooden proskenion and the later use of lime mortar by the Romans, reflect evolving construction techniques and changing functional requirements. The presence of chert veins within the local limestone might have influenced the selection of specific stone blocks for particular architectural purposes, potentially for its durability or aesthetic qualities.

6. A Stage for Many Purposes: Uses and Significance in Ancient Dodona

The ancient theatre of Dodona primarily served as a venue for dramatic performances held during the Naia festival, a significant event established to honor Zeus and Dione.1 These games encompassed a range of cultural and sporting events, including athletic and equestrian competitions, as well as musical and dramatic contests.1 Given its location within the sanctuary of Zeus and Dione, the theatre likely also served as a space for religious ceremonies honoring these deities.1 In the late 4th century BCE, it is possible that the theatre also served as a venue for political gatherings of the Molossian Assembly.2 Following the Roman conquest, the theatre was adapted into an arena, hosting wild animal games and gladiatorial combats, reflecting the Roman penchant for such spectacles.1 Throughout antiquity, the theatre stood as a significant symbol of Dodona's importance and grandeur.1

The varied functions of the theatre highlight its pivotal role in the multifaceted life of ancient Dodona. It provided a grand setting for cultural and religious events, facilitated potential political assemblies, and later adapted to the entertainment preferences of the Roman era, underscoring its enduring importance as a central public space within the sanctuary.

7. Echoes of the Past: Historical Events and Performances

The primary historical events associated with the ancient theatre of Dodona were the dramatic competitions held as part of the Naia festival.1 These festivities, held in honor of Zeus and Dione, included not only athletic and equestrian events but also musical and dramatic contests, highlighting the cultural significance of the theatre.1 The archaeological findings at Dodona confirm the theatre's significance as both a cultural and religious hub in ancient times.1 While the provided research material does not contain specific historical accounts detailing particular performances held at the theatre, the existence of the large structure itself, coupled with its association with the Naia Games, strongly suggests that numerous dramatic and musical events took place there. The lead tablets discovered at Dodona offer a fascinating glimpse into the concerns and questions of individuals who consulted the oracle, but they do not directly describe specific performances at the theatre.1

8. Dodona Today: Current State, Conservation, and Visitor Access

The ruins of the ancient theatre of Dodona are remarkably well-preserved, particularly the Hellenistic theatre structure.1 Since 2014, ongoing restoration and conservation efforts have been underway, with the aim of eventually hosting an annual festival at the site, similar to the renowned festival at Epidaurus.1 The restoration of the lower koilon, or seating area, was completed in June 2022.8 The archaeological site, including the theatre, offers accessibility for disabled persons.26 Visitors can reach the site by car or on foot, and parking is available.26 The opening hours vary seasonally: during the winter (November to May), the site is typically open from 8:00 to 17:30, while in the summer (June to October), the hours are extended to 8:00 to 20:00, although some sources provide slightly different timings (e.g., 8:00-15:00, 8:30-15:00).9 An entrance ticket is required to visit the archaeological site, with a full-price ticket costing 8 euros and a reduced price of 4 euros.26 Visitors should allocate approximately 2 to 3 hours for a thorough tour of the site.26 Notably, the theatre occasionally hosts theatrical performances during the summer months.5

9. References

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  • Katsikoudis N., The theater in ancient Epirus, “Dodona: History and Archaeology,” Volume 29 (2000).7

  • Harisis B., “Restoration Study of Dodona Theater's Retaining Walls,” Ioannina, 1964.8

  • Harisis B., “Dodona. Architectural considerations and tracing representations,” Epirotic calendar 2006.8

  • G. Antoniou, “Consolidation and restoration study of the ancient theater of Dodona,” Athens, 2007.8

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