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Copyright of CEDRUS is the property of Mediterranean Civilisations Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this paper, the acoustic characteristics of the ancient Roman theatre of Cassino are discussed. The theatre was built during the Imperial Age and was abandoned and destroyed after the Barbaric invasions. The theatre has been rebuilt in recent years and it is currently used for summer events ad performance. To measure the acoustic characteristics of this ancient theatre, the authors used a spherical omnidirectional sound source placed on the stage and in the orchestra. The results show that nowadays the theatre has a short reverberation time equal to 0.6 seconds due to the lack of the stage wall, which has not been rebuilt. The weak sound strength justifies the use of electro-acoustic amplification systems which during the summer season, are adopted to improve the acoustic experience in this ancient theatre. [ABSTRACT FROM AUTHOR]

In the twentieth century, ancient theatres acquired symbolic values through their excavation, restoration, and cultural reuse. While elsewhere in the Mediterranean comparable cases show an early and powerful engagement of a populace with their antiquities, in Spain national ideals did not automatically engage with classical culture. In the case of the Roman theatre of Merida, cultural and historical realities dictated a series of cultural events that repeatedly concerned collective memory. In addition to the main sequence of the unique occasions surrounding the 1933 and 1934 performances at the theatre, various other agencies had systematically focused on its exploitation from the 1910s. These initiatives were endorsed by numerous formal visits and cultural events that took place in the theatre, from as early as 1914. Through successive spectacles staged at the theatre, a cultural tradition emerged, while political agendas occasionally exploited its increasing popularity, right up to the Spanish Civil War. [ABSTRACT FROM AUTHOR]

This paper presents the results of the characterisation, provenance determination, quantification (by count and weight) and contextualisation of the white and coloured marbles used for decorating the Roman theatre of Urbino (Marche region, Italy). The main goals of the paper are to contribute to a better understanding of the trade and use of marble in the region of central Adriatic Italy in Roman times, and to demonstrate the socio-cultural importance of architectural décor in Roman society, especially through comparison of the Urbino case with contemporary theatres in the Western Mediterranean. Macroscopic characterisation of white and coloured marbles was followed by thin section petrography, X-ray diffraction and stable isotopic analysis (∂18O and ∂13C) for eight marble samples. In total, twenty-six marble varieties have been identified in the Urbino theatre assemblage. Mineralogical-petrographic and archaeometric analysis shows the presence of white marbles from Carrara (Italy) and Proconnesos (Asia Minor), and greco scritto from Hasançavuslar (Ephesos, Turkey). Coloured marbles, mainly africano , breccia di sciro , breccia medicea , cipollino verde , pavonazzetto and giallo antico , as well more prestigious lithotypes as granito misio , porfido rosso and serpentino , can be traced back to Italy, Greece (mainland and Aegean islands), Asia Minor, Egypt and North Africa. Particularly important is the earliest Roman in situ identification of breccia medicea. Compared to other Roman theatres in the Western Mediterranean, the Urbino theatre stands out for the sumptuousness of its marble renovation, especially in terms of the number of marble varieties. Like other Roman towns in central Adriatic Italy (e.g. Suasa , Trea and Urbs Salvia), Urvinum Mataurense shows a strong integration in the Roman Mediterranean marble trade, with a clear connection with the Greek/Eastern world. [ABSTRACT FROM AUTHOR]

Abstract This paper develops a method based on life cycle assessment (LCA) as a useful decision-making tool for analysing the most suitable building system for intervention in heritage sites. It focuses on a case study based on the Roman Theatre heritage site in Itálica (Spain), where several activities have taken place every two years since 2011 that require the addition of a reversible construction to support the lighting and electroacoustic elements, and improve the stage use. Based on the constraints on interventions in protected heritage settings, three suitable building options have been proposed: a standard system (option 1) and two innovative building systems (options 2 and 3). All three options are reversible, lightweight and quick assembly/disassembly systems. Option 1 is a standard aluminium system currently available on the market, while options 2 and 3 were originally created for this specific setting, using laminated wood beams and steel spatial lattices, respectively. All three lightweight construction systems that use the most common materials (aluminium, wood and steel) are compared. The LCA-based methodology aids in establishing the most suitable option for use in the construction of the case study. The LCA analysis includes the production, construction, deconstruction and end-of-life stages and two environmental indicators: global warming potential and cumulative energy demand. The results of the environmental impact of each option are compared, using the values obtained for option 1 (standard solution of frequent use) as references. In the case of option 3, the results demonstrate that the design decisions, supported by LCA, are determining factors in the choices made. The selected geometry, materials and construction system (production), assembly/disassembly process (construction/demolition) and recycling (end-of-life) reduce the environmental impact. Therefore, finally, option 3 was constructed. The results indicate that LCA can be of assistance in selecting the most suitable option for intervention at a heritage site. [ABSTRACT FROM AUTHOR]

This paper discusses a badly damaged over-life-sized marble head with radiate headgear found in the Roman theater of Gytheum. It probably belonged to a public statue or shield monument of the god Helios and is thought to be late antique. It is here argued that this monument was in fact intended to pay honor to the ruling emperor, who was associated with the god Helios. It is also suggested that the association of the new Flavian dynasty with the solar god represents a particular way by which the people of Greece, among other provincials, chose to express their loyalty to the emperor along traditional religious lines. [ABSTRACT FROM AUTHOR]

The theater of Sabratha (now Libya), a small coastal city of the ancient Tripolitania, was built during the reign of Marcus Aurelius (emperor AD 161-180) and completed during Septimius Severus (emperor AD 193-211). Located in the Regio IV of the city, the theater had the capacity of between 5200 and 6450 spectators and it was used until the earthquake of AD 365. The site was excavated in the 1910s and it was subjected to a process of anastylosis that restored its ancient splendor and magnificence. The first iconographic and architectural analysis of the building was done in 1959 by Giacomo Caputo (1901-1992), who published a description of the reliefs located in the so-called pulpitum (the murus pulpiti or proscaenium, which is the front bridging the gap between the orchestra and the stage). Built out of marble, it rises to a height of 138 cm above the orchestra level, and consists of seven exedras that alternate rectangular and semi-circular profiles flanked by Ionic columns decorated with reliefs. Besides the theatrical scenes and the usual tragic and comic masks, the exedras are decorated with dancing maenads, Hercules, Mercury, the Three Graces, the Judgment Paris, and a whole cohort of characters associated with the theatrical spectacle. The central exedra, corresponding to the valva regia (the regal door), represents two sacrificial scenes framing a subject of political nature. The sacrifice on the left is carried out by Septimius Severus as an officiant, assisted by a camillus and accompanied by the prefect Plautius and the young Caracalla (AD 188-217). On the right is shown a scene with a bull being led to sacrifice. The central scene represents the personification of Rome, wearing military dress and shaking hands with the personification of the city of Sabratha, who wears a high mural crown and holds a cornucopia in her hand. The gesture of shaking hands meant concord and loyalty in Rome, and it alludes to Sabratha's loyalty, submission and respect to Rome. [ABSTRACT FROM AUTHOR]

Copyright of Virtual Archaeology Review is the property of Virtual Archaeology Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The last restoration works of the Roman Theatre in Medellín (Badajoz, Spain) helped to transform a partially-buried ancient Roman site into a relevant monument of national cultural heritage. This fact was recognized with Europa Nostra Awards 2013 , a prestigious EU Prize for Cultural Heritage. Certain parts of this theatre ( Proedria, Orchestra , Frons Pulpiti , Scaenae Frons , among others) were re-emerged in a remarkable state of preservation. Particularly, various decorated fragments of the baseboard in the Scaenae Frons structure, stucco columns and other decorative figures were recovered in excellent condition. In this work, those pigments found on these decorated elements were characterized by means of in situ EDXRF analysis. Additionally, several pigmented fragments found in the site, were analyzed by XRD, FTIR and SEM, in order to cast light on the original pigmentation. Iron in the red color seems to be the predominant element. This result is in agreement with the usage of hematite, a pigment widely used in Roman time. Mercury have not been found in red pigments despite the relatively proximity of the cinnabar ore Almadén mines. [ABSTRACT FROM AUTHOR]

This paper presents the dynamic characterization of a group of historical buildings located over the Roman Theatre of Cadiz (Spain), a piece of heritage that has been buried for centuries under the historical town. In 2010, an intervention began in order to excavate it, while respecting the buildings over it. The control of this intervention is being done by means of topographic control points and ambient vibration tests. On the basis of the results obtained from the dynamic tests, a finite element model was updated and subsequently used to check the current works and foresee the final behaviour of the complex. A brief description of the Roman theatre and the works to recover it, the methodology followed to control such works and the results obtained are the main goals of this paper. [ABSTRACT FROM AUTHOR]

According to the Roman architect Vitruvius (De architectura 5, 3, 1), building a theatre is one of the first priorities: "When the forum is placed, a spot as healthy as possible is to be chosen for the theatre, for the exhibition of games on the festival days of the immortal gods..." Remains, that is, evidence of ancient theatres can be found throughout the Roman Empire, or rather indications of theatres, on the basis of architectonic relics or references to performances found on inscriptions. However, only very little attention has so far been paid to the provinces of Dalmatia, Moesia, Noricum and Pannonia, especially with regard to the spread of theatres and their ancient history. It is precisely in these four provinces, where quite different cultures meet, that we can see Greek, Roman/Italic and Gallic influences. Furthermore, these provinces show quite exceptional legacies, which cannot be found in the rest of the Roman Empire. [ABSTRACT FROM AUTHOR]

Copyright of Anatolia / Anadolu is the property of Ankara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The archaeological site Pinara, southwest Turkey, which includes several remarkable objects of cultural heritage, has been the focus of several previous archaeoseismic studies. One of these examined the setting of the Roman theater in the east of Pinara by a lidar survey. A gross inclination of the stone rows of the auditorium of 0.81° towards N 314°E was interpreted as a consequence of recent coseismic tectonic movements. A new survey of the theater with a terrestrial phase laser scanner is the basis for a model with 15 times higher resolution and 28 times more data points. Parallel to the fieldwork in this study, the process and accuracy of the leveling of the 3D point clouds produced by the scanner was tested in a series of experiments. Based on the orientation of the blocks forming the seats of the theater, we suggest six sections with changing average inclination of the seats and a fault line separating a northern and a southern section. While the previously found overall inclination of the auditorium is confirmed by the new model and the dip direction agrees, the inclination is 0.58° compared to previously determined 0.81°. The almost perfect increase of inclination with the height of the first 10 entire seating rows and the nearly constant inclination from row 11 onward, makes systematic measurement errors during the construction a possible cause. This is an alternative scenario to the interpretation of a coseismic displacement of the conglomerate block on which the theater was built. [ABSTRACT FROM AUTHOR]

The central urban landscape of Amman, including the archaeological sites of the Roman Theatre, Odeon and Forum, has played an essential cultural, political, social, and economic role in local identity and memory since the establishment of the Emirate of Transjordan in 1921. This research is an ethnographic study of this urban landscape. It combines local people's responses to recent governmental interventions to develop the downtown area around the Roman Complex. We document how the Roman Complex "grew" as a feature of a modern Jordanian landscape, not just a reminder of the Roman imperial past. The study investigates conflicting perspectives that have arisen between local community members and recent development projects. In these projects local people's memories, feelings, knowledge, and activities related to the Roman Complex are sacrificed in order to present an image of Amman that can be perceived globally. [ABSTRACT FROM AUTHOR]

The 2011 excavations at ancient Corinth focused on the Roman use of the area west of the theaters stage building. Indications of the interior decoration of the West Hall were among the most interesting finds; also found was evidence for the continued vitality of the area after A.D. 400,which was indicated by a large number of amphoras and by a dump of 8 to 10 tons of cattle and sheep/goat bones over the, by that time, defunct West Hall. The 6th-century Roman fortification wall was also investigated. Also significant was the discovery of the westernmost foundation block of the west parodos of the Greek theater, which was exposed under the earliest Roman floor. [ABSTRACT FROM AUTHOR]

Some scholars have characterized Jewish participation in Roman theatrical institutions as a departure from normative Judaism, while others have distinguished Jews in the diaspora, who attend the theaters, from Jews in Palestine, who criticize and reject them. Both of these narratives are inadequate because scholars have failed to analyze the sources in terms of the cultural and discursive dynamics of Roman theater-going in general. Critiques and accommodations of the theater are common among Jews who lived in both the diaspora and Palestine, for the nature of theatrical culture itself provided Jews with opportunities for vigorous dialogical give-and-take under a Roman imperium in which theaters and their shows were of utmost political and social importance. [ABSTRACT FROM AUTHOR]

This preliminary site report discusses new archaeological information gleaned from the first three seasons of renewed excavations at the Great Roman Theater of Apamea, Syria. It revises our understanding of the construction phases and uses of this important structure. Although one of the largest extant buildings of its type in the Roman empire, the theater at Apamea has never been thoroughly excavated or studied, nor have its surrounding contexts been explored to explain how this Roman-era community supported such massive entertainments and met the needs of the theater's large audiences. Preliminary excavations undertaken by the Syro-American Expedition to Apamea from 2008 through 2010 point to the role of the Great Roman Theater as a water catchment facility with the potential for holding naumachiae (naval battles) and gladiatorial entertainments, as well as pagan water festivals such as the Maiumas. Additionally, these excavations reveal that the theater's water distribution systems were utilized and adapted into the Byzantine period. Renewed archaeological explorations beneath the present orchestra floor demonstrate that a Roman-era reinforced-cement substructure rests over a previously modified bedrock surface of possible Hellenistic date. This article also discusses the unique design and engineering aspects of the Apamea theater in relation to similar theatrical structures throughout the Roman empire. A review of the historical importance of Apamea and its cultural contexts provides the backdrop for this new archaeological evidence. [ABSTRACT FROM AUTHOR]

El artículo presenta una serie de noticias breves relacionadas con la historia. El paleoclimatólogo William Ruddiman comenta sobre la influencia del hombre sobre las temperaturas. Se discurre sobre las excavaciones arqueológicas del teatro romano en Cádiz, España. Se organizó un congreso sobre la historia climática en Dalat, Vietnam en febrero del 2008.