Sabratha’s theatre is situated on the outskirts of the city, beyond the byzantine walls. It was built in the second century AD and survives to this day owing to its reconstruction by Italian archaeologists in the 20th century. Its seating and stage are relatively intact, as are its backstage rooms, making it the most complete roman theatre in the world.
Archaeological Remains of Sabratha’s Theatre
Sabratha’s theatre had 25 entrances and could seat approximately 5000 spectators. Its stage backdrop is 25 metres high and constructed from 108 Corinthian columns arranged in three stories.
Its backstage area, which included two luxurious marble panelled ‘green rooms’ at either wing and prop and dressing rooms were reached from the stage via three entrances in the backdrop: one at the centre and two on either side.
Reconstructive Archaeology
The theatre appears so complete because of its reconstruction by Italian archaeologists in the 1930s. The theatre was re inaugurated by Mussolini and used again to hold plays.
Despite appearances, the actual remains of the theatre were fragmented. For instance, of an inscription on the entablature of the backdrop only one word ‘lacuna’ survived. This means many of the materials used to rebuild the theatre are new. Much of the stage background is of reconstructed stonework in travertine marble. Originally, the lower stories were of synnadic marble. The second story columns were of white marble and those of the third were black granite.
Stage Decor in a Roman Theatre
One area of the theatre that did survive relatively well were the reliefs which lined the base of the stage facing the orchestra and the audience. They alternated around the stage in semi circular and rectangular recesses. Each recess type had a particular theme combining gods and goddesses with motifs from religion and drama.
The semi circular recesses featured portrayals of the muses, a personification of the meeting between Sabratha and Rome, a religious scene featuring a libation and bull sacrifice and a depiction of the 3 graces.
The rectangular recesses showed a dramatic rehearsal, dances, scenes from comedies, tragedies and pantomimes as they would have been performed in roman times, scrolls and various other roman writing materials that would have been used by playwrights, a sundial, and various dramatic props such as comic and tragic masks. All of these activities were presided over by the Goddess Fortune, Mercury, Dionysus, Liber Pater, Hercules and Victory
Sources
Sabratha: A Guide for Visitors by Philip Ward. Darf Publishers: London
Sabratha (2005) Dar Al-Anies Publishing
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