Theatron (the seeing place) is the viewing area of a Greek theatre, where the audience sat to watch the performance of a Greek play. It derives from the Greek word for the viewing of ritual ceremonies.
βουλευτικόν was the section reserved for members of the Boulè [the Council] at the theatre.
βουλευτικόν was the section reserved for members of the Boulè [the Council] at the theatre.
Cavea [Greek: koilon, a hollow or cavity] the auditorium or banks of seats in a Greek theatre. The hollowing out of a suitably sited, naturally shaped hillside or the erection of a building with a similar shape to create an auditorium. Acoustic quality, that is the shaping of the Cavea as a segment of a horn or megaphone, was a critical feature of its design. In the early theatres the audience stood or sat on the grass of the hillside. Later seats were introduced made of wood called ikrea; later still benches were cut from the rock out of the hillside or were made from stone. Some such auditoria were also designed to collect rainwater to supply the local community with their water needs and had drainage channels for this purpose which led to underground cisterns.
Orchestra orkhestra , comes from the verb ὀρκέομαι, orkeomai , which means dancing; it marked the ground-level area where the chorus performed, where the ritualistic dancing and singing of the chorus took place. Originally it was rectangular, but laterr it became a circular or semicircular. It was the space located between the lower floor of the auditorium and the stage, and was the central space in a Greek theatre. Generally either at the centre of the Orchestra or to one side was situated the altar dedicated to Dionysus, known as the thymele.
Diazoma ( Greek: διάζωμα "belt") a term used to describe wide annular horizontal corridor or passageway which separated the lower bank of seats from the upper bank of seats, called the epitheatron, in the Cavea of an ancient Greek theatre.
Kerkis [latin Cuneus] were the wedge-shaped sections of banks of stone seats of the Cavea where the audience sat. separated by mounting staircases (Klimakes) made from the same material.
Skene (the dressing room) was the Scene building the flat-roofed stage building, which might be a non-permanent one, placed at the rear of the orchestra. It could represent a palace or a cave. It generally had a door from which actors could emerge.
Proskene [Proscenium] the ground-level portion immediately in front of the skene was used as an acting area; in Hellenistic period, the proskenion was a raised platform in front of the skene; the skene eventually included two levels, a lower level with a roof (the Hellenistic logeion or stage) and the second story skene with openings for entrances (thyromata)
Paraskenion side additions to the skene. These were one or two storey side wings on either side of the proskenion; which could have columns which supporting a frieze.
Parodos the two entrances on either side of the orchestra giving access to it were called the parodoi.
Periaktoi the 3-sided revolving mechanisms placed each side of the stage painted with scenery, which could change as the play unfolded.
Proedria The marble throne-like seats in the front row, the first circle of seats next to the orchestra. These were seats for VIPs and the priest of Dionysos.
Proedria The marble throne-like seats in the front row, the first circle of seats next to the orchestra. These were seats for VIPs and the priest of Dionysos.
Logeion [latin pulpitum or greek λογεῖον] The raised platform or stage behind the orchestra in front of the skene on which actors could speak; the roof of the proskenion could be used for this purpose
Thymele Of controversial position and function. Can refer to the mid-point of the Orchestra, which might be marked by a stone or platform. Or it can refer to a small, possibly moveable altar used to make sacrifices to Dionysus; both of these were called thymele. During the action of the play the chorus danced or stood around the thymele.
The history of Greek theatres as substantial buildings really only begins in the mid-fourth century BC; clearly defined principles of design do not appear before the Hellenistic age, following the death of Alexander and before the conquest of Greece by Rome. It is ironic, but not unparalleled in other periods and contexts, that the evolution of these principles should have coincided with the decline of Greek dramatic poetry, both comic and tragic.
The reasons for this decline are rather complex. Greek tragedy and comedy both grew out of religious celebrations. Especially in the hands of Euripides, tragedy subsequently became more moralizing than ‘religious,’ and also more ‘dramatic’ in character; and the comic productions were of a different nature too.The history of Greek theatres as substantial buildings really only begins in the mid-fourth century BC; clearly defined principles of design do not appear before the Hellenistic age, following the death of Alexander and before the conquest of Greece by Rome. It is ironic, but not unparalleled in other periods and contexts, that the evolution of these principles should have coincided with the decline of Greek dramatic poetry, both comic and tragic.
Early theatres and their orchestras were probably rectangular but much smaller in design. The theatron used wooden seating. Later theatres in the Hellenistic period were much, much larger and were constructed to give every member of the audience which could be tens of thousands an equally good view, and the shape of the theatron as a megaphone or a portion of a horn on a hillside in overall design gave good acoustics too.
Ten Books on Architecture by Vitruvius - Wikisource
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Onomasticon: Pollux, Julius, of Naucratis - Internet Archive Edited by Wilhelm Dindorf
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The Oxford Classical Dictionary (3 ed.) Theatres Structure (Greek and Roman) Internet Archive
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Joe Park Poe
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https://www.jstor.org/stable/25010898
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Review
Review
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Csapo_2004-libre.pdf
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The Men Who Built the Theatres: Theatropolai, Theatronai, and Arkhitektones by Eric Csapo
Csapo_2004-libre.pdf
On the Origin of the Architect: Architects and Xenía in the Ancient Greek Theatre by Simon Weir
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The Play of Space: Spatial Transformation in Greek Tragedy by Rush Rehm - Google Books
The Play of Space: Spatial Transformation in Greek Tragedy by Rush Rehm - Google Books
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