Theatre of Marcellus - Case Study Example

Theatre of Marcellus Whether we wish to acknowledge it or not, there is a great deal of truth in the statement, “architecture is the unavoidable art” (Roth 3) as we exist and grow within a constructed space. The process of architectural theory is a continuous process. As Roth explains, “architecture is the chambered nautilus shell of the human species; it is the environment we build for ourselves, and which, as we grow in experience and knowledge, we change and adapt to our expanded condition. If we wish to understand ourselves, we must take care not to eliminate the ‘shell’ of our past, for it is the physical record of our aspirations and achievements” (Roth 3). Today, there are a number of theories regarding what is architecture and they continue to change with time, material, usage of the structure and so forth. To help limit our discussion, Vitruvius provides us with three basic elements of design that must be considered when attempting to understand architecture. These include utility, flexibility and beauty. “By utility, Vitruvius means the functional arrangement of rooms and spaces so that there is no hindrance to use and so that a building is perfectly adjusted to its site. Firmness referred to foundations that were solid and to building materials being used wisely to do their required work. Beauty meant that ‘the appearance of the work is pleasing and in good taste, and [that] its members are in due proportion according to correct principles of symmetry” (Roth 11). These three principles will be taken into account in an examination of the architecture of the ancient Theatre of Marcellus as it existed within its contemporary society and as it has influenced architecture into the future. The Importance of Theatre in Rome Social life in ancient Rome was full of spectacle including triumphal processions, aristocratic funerals, public banquets, gladiatorial contests, wild beast shows, athletic competitions and chariot races. “As a whole, this pervasive culture of spectacle served both as a vehicle for self-advertisement by the sociopolitical elite and as a means of reinforcing the shared values and institutions of the entire community” (Klar, 2006). One form of entertainment that had long-term impact upon the citizens of the city was the theatre. “According to the ancient historian Livy, the earliest theatrical activity at Rome took the form of dances with musical accompaniment, introduced to the city by the Etruscans in 364 BC” (Klar, 2006). Full length plays were introduced by 240 BC through the comedies and tragedies of playwrights such as Livius Andronicus, Plautus and others. Some of this literature, as it still does today, served to inform the public about cultural and societal values, exploring important or controversial issues and often worked to reinforce the status quo. Other forms of entertainment that were popular included mime and pantomime. However, “the principal occasions for dramatic spectacles in the Roman world were yearly religious festivals, or ludi, organized by elected magistrates and funded from the state treasury” (Klar, 2006). Despite this, it wasn’t until 55 BC when Rome constructed its first permanent theatre in Pompey. “Before then, all theatres erected in Rome has been temporary affairs which were torn down at the end of the festival for which they had been erected” (Sear 23). Although there are indications that the powers that be were against the idea, it was justified by the insistence of the builders that it was actually a temple to Venus with seats constructed underneath to facilitate religious festivals. “Indeed the close association of theatre and temple has a long history and can be seen in several Republican sanctuaries” (Sear 24). Theatre of Marcellus The Theatre of Marcellus was constructed in Rome’s capital from 23-13 BC just at the beginning of the Imperial period. The theatre is situated on the banks of the Tiber River and includes architectural cut-outs to take advantage of the view of the island just at that point. Constructed with a semi-circular footprint, the theater measured 111 meters (just over 364 feet) in diameter although other reports indicate it was closer to 150 meters or 492 feet in diameter (Theatre of Marcellus, 2008; Platner 515). “The scaena was about 80-90 meters long [262-295 feet] and 20 [65 feet] deep; and at the end of the scaena was an apsidal hall, about 25 by 15 meters [82x49 feet], one of which may have been the regia” (Platner 515). Seating was accessed through circumferential access corridors along the curved side while the flattened side nearest the river held the stage. Estimates vary on the amount of available seating within the theatre, but typically range between 11,000 to 40,000 people. Engravings by Piranesi: Theatre of Marcellus (Seindal, 2008) It is probable that the theatre was first conceived as a symbol of authority and power as Julius Caesar reacted to the completion of the Theatre of Pompey (Aleandri, 2006). Caesar created hard feelings toward the theatre when he indiscriminately cleared the land. “To make room for it he [Caesar] removed the temple of Pietas in the forum Holitorium and other shrines and private houses” (Platner 513). However, Caesar was killed before he could do anything more and the land lay empty for 22 years until Octavian, in the form of Caesar Augustus, undertook the project as a public works project, to beautify and modernize his city and to construct a tribute to his nephew, adopted son and heir, Marcellus. Probably designed by Vitruvius, the theatre differed from its Greek counterpart in many ways, which can be discovered through architectural analysis. Theatre Design Much of Roman architecture was simply a modification of an older form of architecture until the end of the Republican period and beginning of the Imperial period. At this point, Romans began to experiment with the forms they had learned elsewhere and modify them to a much greater extent. Therefore, it is not surprising to discover that the Theatre of Marcellus is strikingly different in its design from theatres found throughout Greece. “The Roman theater … was a fully enclosed edifice, unroofed but often covered with awnings of performance days” (Klar, 2006) which was a major break from the traditional two-part Greek system consisting of a horseshoe-shaped seating area and freestanding stage building. While the Greek stage was usually a low-walled construction providing little more than a basic backdrop, the walls of the Roman stage went fully as high as the walls of the surrounding seating area and provided numerous spaces in which various forms of statuary or other artworks might be displayed. The Roman seating area was supported on large concrete vaults which also served to focus and direct traffic, control access to various parts of the building and affirm social hierarchies. Model of Tiber Island facing Theatre of Marcellus: View from North (Raia, 1999) As the above model reconstruction of the original building illustrates, the three tiers of seating are strongly separated, indicating a strong degree of social control in determining where individuals might be permitted to sit or even if they would be allowed into the theatre at all. “In contrast to the Greek world, where seating in the theater was largely open, Roman audiences were rigorously segregated on the basis of class, gender, nationality, profession, and marital status. This is reflected in both the enclosed form of the Roman theater, which restricted access to the building, and the system of vaulted substructures, which facilitated the routing of spectators to the appropriate sector of seating” (Klar, 2006). The interior spaces of the theatre are largely defined by the overall structure of the building. In terms of design, the structure of the theater consists of three massive structural arcades on piers. Each of these arcades is characterized by columns of one of the Greek orders – Doric on the lowest level, Ionic on the middle level and Corinthian on the topmost level, again emphasizing hierarchy and the importance of social status. “A purely cosmetic layer of trabeation was added to the front. The trabeation was of the Greek orders and gave scale to the building. It also creates a rhythm of solids and voids on the elevation” (Module 7, 2008). The trabeation gave the structure the look of white marble giving it the sense of opulence and impressiveness Augustus was seeking while the natural rhythms included in the overall design of the building encouraged a sense of harmony and togetherness within the strict hierarchy of the forms. Theatre of Marcellus (Seindal, 2006). Theatre Structure The structure of the Theatre of Marcellus is based largely upon the use of cement and the Roman innovation of the half-column. The materials used in the construction are tuff, cement and opus reticulatum brickwork. “Tuff is a type of rock consisting of consolidated volcanic ash ejected from vents during a volcanic eruption” (Tuff, 2008). This material makes an important component in opus reticulatum, which was a form of brickwork that employed diamond-shaped bricks of tuff placed in cement to create a strong structure while adding textural depth and artistry. “Concrete (commonly and incorrectly called cement) was a material developed and exploited by Roman builders. Their remarkable structures probably could not have been built without the use of concrete. Concrete is in essence an artificial stone that begins as a viscous mixture of water and assorted aggregate pieces of broken rock, combined with a binding material, or cement, derived from lime that will bond everything together” (Roth 35-36). The bulk of this type of work can be found in the radial walls and ambulatory walks as the exterior façade is coated in a decorative sheath of travertine to give the building the appearance of marble. Theatre of Marcellus Cavia (Raia, 1999). The exterior presents a series of arches in arcade style giving entrance into the building as well as the necessary support for the weight of the stone. Two advantages of the stone arch over the stone post and lintel is that the masonry arch is “made up of many smaller parts, the wedge-shaped voussoirs, so the necessity of finding a large stone lintel free of cracks or flaws is eliminated, as are the delicate logistics of handling large blocks of stone for lintels. Second, because of the physics involved, the arch can span much greater distances than can a stone lintel” (Roth 32). When several arches are used in succession as in this structure, the need for exterior buttressing is removed as the physics involved cancel out the lateral forces except at the ends, where the theatre is supported by the two wings at either end of the stage wall. Again, the design of the building is such that the weight and the requirements for use are engaged, but the aesthetic appeal is increased through the more decorative nature of the curved arches. This effect was enhanced even further through the Roman innovation of using half-columns as support for a complete entablature between the three levels of arches. Like the Tabularium, another famous Roman structure, “most of the building is of concrete, apart from the façade which has a series of round-headed openings flanked by half columns. These support a continuous entablature which runs above the arches. An arch combined with half columns in this manner is termed a fornix and becomes a stock feature of [Roman] architecture” (Sear 27). This can be clearly seen on the two remaining levels of the original building. Theatre of Marcellus Bottom Tier of Arches, Doric Columns (Raia, 1999) Theatre of Marcellus Detail of Arch and Ionic Column (Raia, 1999) Comparison to Modern Design Since its construction, the theatre of Marcellus has continued to influence the way theatres are constructed throughout the world. “In the 17th century, the renowned English architect Sir Christopher Wren explicitly acknowledged that his design for the Sheldonian Theatre in Oxford was influenced by Serlio’s engraving of the Theatre of Marcellus” (Theatre of Marcellus, 2008). Sheldonian Theatre Oxford (Burnett, 2004) As can be determined from the above image, the theater adopts the same sort of D-shape as that seen in the Theatre of Marcellus and in numerous theatres constructed since. Arches are a major architectural feature of the construction as is a decorative use of the brickwork and a visible entablature to unite the arch series. Wren preserves the Roman tendency for statuary display by including the busts of various people on the fence line columns. The second tier of the building is brought into contemporary times by a more gothic approach including ironwork along the roof line. Where the original theatre required no roof for the comfort of its visitors, the Sheldonian theatre required a roof in order to be useful. This required the use of other architectural innovations known to the Romans in the form of trusses. Conclusion and Summary Theatre and spectacle were very important elements of Roman society, but so was a sense of social hierarchy and controlled social functions. The Theatre of Marcellus represents a significant break from the earlier theatre designs of the Greeks that took these elements into account. Modifying the ideas of the ancients in developing half-columns, creatively using concrete and other materials and skillfully manipulating the materials to take advantage of known physics, the creators of this theatre were able to effectively provide Rome with a beautiful theatre that harmoniously blended the architectural elements of utility, flexibility and beauty in a unique construction. This unique construction was so perfectly suited to its use that the basic structure of this theatre, with the later addition of a roof, is still used as a model for theatres today. Works Cited Aleandri, Emelise. “The Theatre of Marcellus, Rome: Architecture and History.” New York Council for the Humanities, 2006. October 8, 2008 Burnett, Mark. “Sheldonian Theatre Oxford.” Photo. May 3, 2004. October 8, 2008 Klar, Laura S. “Theater and Amphitheater in the Roman World.” Heilbrunn Timeline of Art History. New York: Metropolitan Museum of Art, 2006. October 8, 2008 Module 7: Roman Architecture. Departement of Architecture, College of Environmental Design :King Fahd University of Petroleum and Minerals. September 22, 2008 . Platner, Samuel Ball. A Topographical Dictionary of Ancient Rome. London: Oxford University Press, 1929. Raia, Ann. VRoma Images Archive. (2001). October 8, 2008 Roth,Leland M. Understanding Architecture: Its Elements, History and Meaning. New York: Harper Collins , 1993. Sear, Frank. Roman Architecture. Ithaca, New York: Cornell University Press, 1983. Seindal, Rene. Photo Archive. September 23, 2008 . “Theatre of Marcellus.” Wikipedia: The Free Encyclopedia. September 23, 2008 . “Tuff.” Wikipedia, The Free Encyclopedia. October 6, 2008 . Read More