Roman Theatre (Mérida): Difference between revisions
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{{Infobox World Heritage Site |
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| WHS = [[Archaeological Ensemble of Mérida]] |
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The '''Roman Theatre''' is an [[Roman architecture|ancient Roman]] edifice in [[Mérida, Spain]]. Together with the historical centre of the city, it is listed as a [[UNESCO Heritage Site.]] |
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| Image = [[File:Merida Roman Theatre1.jpg|270px|Roman theater in Mérida.]] |
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| State Party = {{ESP}} |
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| Type = Cultural |
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| Criteria = iii, iv |
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| ID = 664 |
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| Region = [[List of World Heritage Sites in Europe|Europe and North America]] |
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| Year = 1993 |
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| Session = 17th |
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| Link = http://whc.unesco.org/en/list/664 |
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}} |
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The '''Roman Theatre of Mérida''' is a construction promoted by the consul [[Marcus Vipsanius Agrippa|Vipsanius Agrippa]] in the Roman town of [[Augusta Emerita]], current [[Mérida, Spain|Mérida]], [[Spain]]. According date written on the actual construction stage occurred in the years 16 and 15 B.C. |
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The theatre could house up to 6,000 spectators. The ''[[proscenium]]'' is well preserved: it has currently a height of 17.5 and a length of 63 m |
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The theater has undergone several renovations, most importantly, at the end of the century or early second century, possibly during the reign of Emperor [[Trajan]], when he got up front or in front of the current scene and the other in time of [[Constantine]] between 330 and 340, with new-decorative architectural elements and built a walkway around the monument. After the abandonment led by Christianity because of the immorality of the theater, it is abandoned and covered with earth, leaving visible only the upper tiers of seats (summa cavea). The popular imagination called "The Seven Chairs", where tradition says she sat in several Moorish kings to decide the fate of the city. |
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==History== |
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According to an inscription, the theatre was built in the years 15-15 BC, by order of [[Marcus Vipsanius Agrippa]], a general and friend of emperor [[Augustus]]. Subsequently the structure underwent several restorations, tha main ones being during the reign of [[Trajan]] (late 1st-early 2nd century AD) and during that of [[Constantine]] (330-340), which introduced new architectonic elements and decorations. |
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==Enclave== |
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After its abandonment during the early Christian age, the theatre was partly covered by earth, only the ''[[summa cavea]]'' remaining visible. The site was popularly known as ''Siete Sillas'' ("Seven cradles"). The theatre was restored to the current state in the 1960s-1970s. |
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[[File:InscripcionAgrippaTeatroMérida.JPG|thumb|200px|Registration monumetal on the lintel of one of the two entrances to the ''orchestra'' of the theater of ''Emerita Augusta'', dedicated to M. Vipsanio Agrippa consul three times and its fourth power tribunicia.]] |
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Registration monumetal on the lintel of one of the two entrances to the orchestra auguta Emerita Theatre, dedicated to M. Com Vipsanio Agrippa consul three times and its fourth power tribune. |
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Theatre located in the [[archaeological ensemble of Merida]] is one of the largest and most extensive archaeological sites in Spain. It was declared a [[World Heritage Site]] by [[UNESCO]] in 1993. The theater was located within the [[Roman cities|Roman city]] in a peripheral location thereof, along the walls, leaning part of the bleachers in the Cerro de San Albin. |
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[Edit] Structure |
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Raised by faithfully following the rules of the treaties of [[Vitruvius]], shows similarities with the theaters of [[Dougga]] (Tunisia), [[Théâtre antique d'Orange|Orange]] (France) and Theatre of Pompey|Pompeii(Italy). The building responds to a typical Roman model, as previously established in the buildings of Pompeii and Rome, with the diameter of cavea about 86 meters. |
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==Grandstand== |
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[[File:GradasTeatroRomano.JPG|thumb|200px|Grandstand.]] |
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Consists essentially of a grandstand (cave) semicircular, with capacity for 6,000 spectators eventually divided into three zones: imacavea (22 rows of bleachers), medium (5 rows) and summa, the latter very poor at present. |
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The bottom on which stood the wealthier social classes, is excavated and supported by the slope of the land itself, without artificial supports, according to [[Greek]] tradition, and like other theaters nestled in [[Spain]]. This part is divided into five radial sectors (cunei) delimited by stairs for circulation, and horizontally, along a corridor (praecintio) that separates it from the stands above, supported by a complex system of arches and barrel vaults. |
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==Orchestra== |
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The place was the most senior orchestra, paved with marble semicircular space white and blue. Here in three steps, originally of marble, were placed movable seats of the senators and top officials attending the theater. The orchestra was separated from the bleachers by a parapet of [[marble]], which remains a fragment. |
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==Scenario== |
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[[File:Merida Roman Theatre2.jpg|200px|thumb|Picture of the theater stage.]] |
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The rectangular [[proscenium]], the stage or pulpitum and finally the front of the scene (scaenae frons) are the most spectacular view of the theater property, is 7.5 m wide, 63 long and 17.5 in height, is formed by two Corinthian columns with bases and cornices of marble, adorned with sculptures in the spaces between columns and in it there are three doors, a call center and two side shell royal hospitalia valvae calls. Severe setbacks are appreciated in the arrangement of the blocks, consistent with the structural and compositional dynamism of the scene. It is unknown as was the original stage front, as the present seems to have been built under Emperor [[Trajan]]. |
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At this stage, no microphone needed to talk, because it has an opening through which you can talk perfectly without missing a microphone and hear you perfectly. |
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==Excavation and restoration of the building== |
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Until the late 19th century, the only visible remains of the theater were the so-called "Seven Chairs", remains the top of the bleachers, formed concrete base covered with granite blocks that made up the facade of the building. The excavations of the theater began in 1910 to be directed by archaeologist José Ramón Mélida, with limited resources and a methodology is not entirely adequate to reconstruct the evolution prevented from leaving the theater until the late nineteenth century, was exhumed most of the building , documented numerous [[columns]], [[horn]], [[statues]] and other building materials, especially the front stage. |
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It was not until the 60´s and 70´s of the 20th century when the front stage was rebuilt under the direction of the architect and archaeologist José Menéndez Pidal y Álvarez. |
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Numerous studies in recent years have revealed that the reconstruction carried out in the twentieth century pieces found does not show what the theater was in its origin and, therefore, if they could compare the two theaters, the differences would be significant. |
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==Current use== |
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Besides being the most visited monument in the city, since 1933 home to the development of the [[Festival de Mérida|Festival of Classical Theatre of Mérida]] thus returns to its original function and transcends the mere ornament. |
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==See Also== |
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* [[Archaeological Ensemble of Mérida]] |
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{{commonscat|Ancient Roman theater in Mérida}} |
{{commonscat|Ancient Roman theater in Mérida}} |
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Revision as of 17:33, 7 October 2010
| UNESCO World Heritage Site | |
|---|---|
 | |
| Criteria | Cultural: iii, iv |
| Reference | 664 |
| Inscription | 1993 (17th Session) |
The Roman Theatre of Mérida is a construction promoted by the consul Vipsanius Agrippa in the Roman town of Augusta Emerita, current Mérida, Spain. According date written on the actual construction stage occurred in the years 16 and 15 B.C.
The theater has undergone several renovations, most importantly, at the end of the century or early second century, possibly during the reign of Emperor Trajan, when he got up front or in front of the current scene and the other in time of Constantine between 330 and 340, with new-decorative architectural elements and built a walkway around the monument. After the abandonment led by Christianity because of the immorality of the theater, it is abandoned and covered with earth, leaving visible only the upper tiers of seats (summa cavea). The popular imagination called "The Seven Chairs", where tradition says she sat in several Moorish kings to decide the fate of the city.
Enclave
Registration monumetal on the lintel of one of the two entrances to the orchestra auguta Emerita Theatre, dedicated to M. Com Vipsanio Agrippa consul three times and its fourth power tribune.
Theatre located in the archaeological ensemble of Merida is one of the largest and most extensive archaeological sites in Spain. It was declared a World Heritage Site by UNESCO in 1993. The theater was located within the Roman city in a peripheral location thereof, along the walls, leaning part of the bleachers in the Cerro de San Albin. [Edit] Structure
Raised by faithfully following the rules of the treaties of Vitruvius, shows similarities with the theaters of Dougga (Tunisia), Orange (France) and Theatre of Pompey|Pompeii(Italy). The building responds to a typical Roman model, as previously established in the buildings of Pompeii and Rome, with the diameter of cavea about 86 meters.
Grandstand
Consists essentially of a grandstand (cave) semicircular, with capacity for 6,000 spectators eventually divided into three zones: imacavea (22 rows of bleachers), medium (5 rows) and summa, the latter very poor at present.
The bottom on which stood the wealthier social classes, is excavated and supported by the slope of the land itself, without artificial supports, according to Greek tradition, and like other theaters nestled in Spain. This part is divided into five radial sectors (cunei) delimited by stairs for circulation, and horizontally, along a corridor (praecintio) that separates it from the stands above, supported by a complex system of arches and barrel vaults.
Orchestra
The place was the most senior orchestra, paved with marble semicircular space white and blue. Here in three steps, originally of marble, were placed movable seats of the senators and top officials attending the theater. The orchestra was separated from the bleachers by a parapet of marble, which remains a fragment.
Scenario
The rectangular proscenium, the stage or pulpitum and finally the front of the scene (scaenae frons) are the most spectacular view of the theater property, is 7.5 m wide, 63 long and 17.5 in height, is formed by two Corinthian columns with bases and cornices of marble, adorned with sculptures in the spaces between columns and in it there are three doors, a call center and two side shell royal hospitalia valvae calls. Severe setbacks are appreciated in the arrangement of the blocks, consistent with the structural and compositional dynamism of the scene. It is unknown as was the original stage front, as the present seems to have been built under Emperor Trajan.
At this stage, no microphone needed to talk, because it has an opening through which you can talk perfectly without missing a microphone and hear you perfectly.
Excavation and restoration of the building
Until the late 19th century, the only visible remains of the theater were the so-called "Seven Chairs", remains the top of the bleachers, formed concrete base covered with granite blocks that made up the facade of the building. The excavations of the theater began in 1910 to be directed by archaeologist José Ramón Mélida, with limited resources and a methodology is not entirely adequate to reconstruct the evolution prevented from leaving the theater until the late nineteenth century, was exhumed most of the building , documented numerous columns, horn, statues and other building materials, especially the front stage.
It was not until the 60´s and 70´s of the 20th century when the front stage was rebuilt under the direction of the architect and archaeologist José Menéndez Pidal y Álvarez.
Numerous studies in recent years have revealed that the reconstruction carried out in the twentieth century pieces found does not show what the theater was in its origin and, therefore, if they could compare the two theaters, the differences would be significant.
Current use
Besides being the most visited monument in the city, since 1933 home to the development of the Festival of Classical Theatre of Mérida thus returns to its original function and transcends the mere ornament.
See Also
