This study of the Greek theatre of Kalydon, edited by Rune Frederiksen and Olympia Vikatou, is in two volumes: the first is mainly devoted to the architecture, with only a small digression on a Byzantine tomb; the second illustrates the scattered architectural remains, the finds, and the excavation contexts. The first volume has only a third as many pages as the second. Nineteen pages of drawings complete the second volume, including several plans, reproduced at different scales, and some sections. Finally, there are two very detailed drawings of the theatre plan on two folded sheets. The first is on a scale of 1:100. The scale of the second plan is about 1:133 and shows the lettering that indicated the rows of seats, the numbering of the koilon (cavea in Latin) blocks, and the abbreviations defining the various scenic structures (skene).
After the accidental discovery of the theatre in 1963 and other limited investigations, seven systematic excavation campaigns have been carried out since 2001. The first of these revealed the proscenium and led to the exclusion of the hypothesis that it could have been a bouleuterion. Its peculiar architectural layout suggested that the investigation should continue until the monument was completely uncovered.
Apart from the damage caused by the road construction, the entire theatre was excavated with a careful stratigraphic method. For this reason, it is an exemplary study, in contrast to the very inexact methods of many earlier studies of monuments. In describing the structural remains, the editors decided to indicate the stratigraphic position of the structure using an abbreviation of its architectural function: for example, AS17 becomes “SkSW” (skene south wall). But ‘W’ could also stand for ‘West’, which could cause confusion, and actually, the ‘W’ could perhaps have been omitted, since these would still be structures. However, the excavation numbering has been retained for uncertain structures.
In Chapter 2 we have a general description of the remains, beginning with the koilon (cavea). The peculiarity of the arrangement is obvious: instead of the usual semicircular layout, the tiers of seats form three sides of a rectangle, and the orchestra has an almost square shape. This arrangement does not change in the upper part of the koilon, but here the angles are rounded to form a continuous connection between the side sectors of seats and the central sector.
Excavations have brought to light the structure of the koilon. In the central part, the slope, made of soft sandstone, was dug out, but in the direction of the parodoi (the corridors leading to the orchestra), an artificial earthwork was created to support the stands. The same sandstone was used for the seats, which are made of blocks of different lengths, without decoration. A detailed table records the dimensions of the blocks (Table 2.1). In the lower part of the koilon, the seats are on average 0.39 m high and 0.62 m deep. The poor state of preservation of the seats is due partly to the stone used and partly to workmanship that was not always very careful. Investigations revealed that the orchestra floor was a broad area of rammed earth, the sloping surface of which facilitated water drainage.
The theatre structures underwent considerable plundering. In fact, the analemma (the supporting wall of the koilon towards the parodoi) was largely removed and much of the scene building (skene) was demolished. A substantial part of the chapter is devoted to the scene building and to the evidence provided by the various stratigraphic tests carried out beneath the ancient floor levels. Of particular interest are the remains of the proskenion, whose stylobate was found almost intact. On the other hand, only a few fragments of the proskenion facade were found (catalogue A1–A15), which nevertheless made possible a precise graphic reconstruction of the elevation. The sandstone structure was covered with two layers of stucco a few millimetres thick. Two ramps led to the proskenion. In the plan, the ramps appear slightly rotated in relation to the koilon retaining walls.
Chapter 3 is devoted to a general interpretation of the theatre. Much space is, of course, devoted to the study of the peculiar form of the koilon in comparison with other theatres with roughly rectilinear seating tiers. The absence of steps to access the different tiers is noted, although they were already common in theatre design at the end of the fourth century. A problematic element is the connection between the western parodos and the orchestra. The presence of a portal, or tyroma, is ruled out in favour of an older date for the preserved structure (p. 60). A detailed drawing of the structural situation would have been useful here. In contrast to the completely original arrangement of the koilon, the scene building was designed according to the conventions of theatre architecture of the time. It consisted of a rectangular building that did not exceed the width of the orchestra. In the interior, six bases have survived, which must have supported pillars for a wooden floor. Numerous tile fragments indicate that the building was covered with a roof.
Frederiksen rightly believes that the execution of the architectural decoration of the proskenion was carried out on site because of the nature of the material, the fragile local sandstone. The stone was stuccoed to ensure better preservation and for aesthetic reasons, i.e. to give the appearance of a higher-quality stone. Finally, the problem of the unit of measurement used at the time is mentioned, without any firm conclusions (perhaps an attempt to determine the ancient measures could have been made on the basis of the dimensions of the orchestra and the scene building).
Careful stratigraphic excavation has made it possible to define the chronology of the construction phases of the theatre as shown in Chapter 4. Two main phases can be distinguished. The earliest phase concerns the construction of the koilon, and no difference was observed between the lower area of the tiers of seats, characterised by a right-angled connection, and the upper area, where the connection is curved. The various excavation data converge on a date of construction around 350 BC. The construction of the scene building seems to be later, as the stratigraphy indicates a date of around 250 BC. Some stamps impressed on the tiles document a re-roofing of the scene building around 200 BC.
Chapter 5 develops some of the ideas put forward in the previous chapters by several authors: the shape of the tiers towards the parodoi, the number of people the theatre could hold, and the articulation of the scene building.
Of particular interest is Chapter 6, which deals with the acoustics of the theatre. The various simulations confirm what could be deduced from the rectangular geometry of the koilon, namely that the audience’s centre of attention was more or less on the central area of the orchestra.
The function of the theatre is examined by Frederiksen in the next chapter, where he relates the particular form of the orchestra to the performance of groups of actors or singers, and does not exclude its use for dramatic performances. The large audience capacity, around 5,000 people, may have been necessary for regional meetings or religious festivals.
In Chapter 8 Frederiksen examines the place of the Kalydon theatre in the history of ancient theatre buildings. He discusses its peculiar design in comparison with other buildings with straight rows of seats, noting that in the earliest periods these theatres must not have had a uniform layout. The Ionic order of the proskenion is also examined in relation to the more numerous examples of Doric order. The problem of the formation of a circular orchestra is then discussed, with the earliest examples of the form being introduced around 350 BC.
In Chapter 9, the analysis of the two skeletons found provides some data, and although they are statistically insignificant in themselves, nonetheless they allow comparison with similar remains from other Greek sites. Chapter 10 examines the phases following the abandonment, which can be placed towards the end of the second century BC. The last chapter presents general conclusions about the location of the theatre in relation to the city.
The second volume contains an examination of the various excavation finds and stratigraphy (referred to in this volume as Excavation Contexts). In the catalogue, each class of material is preceded by an introduction that is then followed by a detailed description. The chapters on finds were edited by different authors (for the table of contents, follow the link given above).
First we have the catalogue of architectural elements. The drawings are accurate, but unfortunately reproduced on too small a scale to appreciate the details. The grey shading, which highlights the ruined parts of the pieces, weighs down the drawing, in my opinion. Next comes the catalogue of fired bricks, which were perhaps originally used in the construction of pillars, as shown by a fragment with a kind of moulding. This is followed by a catalogue of selected fragments of Laconic tiles, some of which have stamped workshop marks. Here the designs are reproduced to a reasonable scale, but the metric scale is missing, so the measurements have to be taken from the catalogue.
The pottery is divided into classes: Fine Ware Drinking Vessels, Various Hellenistic Wares, Serving Vessels, Unguentaria, Oil Vessels, Miniature Pottery, Cooking Vessel, Amphorai, etc. The most diagnostically relevant class is the Fine Ware Drinking Vessels. The presence of cooking pottery in the layers below the tiled-roof collapse may indicate a secondary use after the building was abandoned. Several fragments are associated with the tile layers in the parodoi, suggesting that the collapse was stripped to recover reusable material. Several loom weights may suggest some connection with the nearby sanctuary of Artemis Laphria. The same can be assumed for the small number of terracotta figurines found in the more recent layers. The rare fragments of glass offer no particular clues, except as residual material.
The coins found in the theatre are quite numerous: 31 pieces. Several tables — organized by chronology, by origin, and by stratum — make it easier to consult the numismatic finds. A significant number of coins date from between the second half of the fourth century BC and the second century BC, with a resurgence in the Julio-Claudian period. Other metal objects related to the theatre are also catalogued: some nails and a lead casting of a removed metal clamp.
The volume concludes with a detailed description of some contexts that are particularly important for the chronology of the theatre (chapters 20–24): the trenches dug under the ancient floor levels. A large trench running north-south was excavated in the scene building. Another trench covered the connecting area between the eastern parodos and the orchestra. The levels relating to the collapse and the scattering of tiles were considered as a single context. Finally, the area inside the scene building was considered as a single context, but with the excavation of several trenches.
Only a few minor remarks need to be made about the publication. Perhaps closer adherence to commonly used stratigraphic standards would have made it easier to navigate the description of the remains. The graphic documentation, which is of high quality, sometimes seems to have been sacrificed to editorial decisions. More detailed plans and sectional drawings would have facilitated the reading of the final chapters devoted to stratigraphic contexts.
The volume on the theatre of Kalydon is the excellent result of several years of research. The monument has been thoroughly studied in its various architectural-historical aspects. This publication edited by Rune Frederiksen and Olympia Vikatou represents an invaluable point of reference in the study of Greek theatres, especially the oldest ones.