Discover the tale of the Roman theatre

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Cities and Countries of art and history
THE ROMAN THEATRE,
VIENNE’S LEADING
MONUMENT
The theatre was built during the 1st century AD and ranks
amongst the largest ones of the Roman world: with a
diameter of 129.8 metres, it could hold around 11,000
spectators. Following antiquity, the monument went through
a long period of obscurity - from the 4th century until its
excavation and restoration at the beginning of the
20th century. Each summer, the theatre now hosts a wide
selection of entertainment, including the world-renowned
festival “Jazz à Vienne”. The theatre has a capacity of nearly
8.000 spectators.
Discover
the tale of
the Roman theatre
in Vienne
The period of obscurity
Circus
Stadium
Theatre
Odeon
Forum
Thermal baths
and Esplanade
The theatre before it was dug out
Model of Vienne at the end of the 2nd century. The Saint-Romain-en-Gal-Vienne museum,
photography by P. Veysseyre.
The period of rediscovery
In the 18th century, archeologist Pierre Schneyder began to
imagine that he was looking
at an ampitheatre whilst
outlining
the
vaulted
substructions of the tiers.
Then, between 1908 and
1918, ground tests carried out
by the curator of the Vienne
The theatre during restoration
Museum, Ernest Bizot,
showed that the lack of a wall high enough to protect
spectators from wild animals meant that the edifice could not
be an ampitheatre. In 1922, several properties were purchased
by the town with fundings from the State, the Isère department
and the association the “Société des Amis de Vienne”.
At the heart of ancient Vienne’s
monument
During antiquity, the city of Vienne stretched over an area of
14,000 square kilometres (including the Isère, Savoie and
Upper Savoie regions) and benefited from the favour of Roman
emperors. Vienne was, at that time, one of the largest cities in
Gaul, with 200 hectares of built-up area.
A huge road link was created from west to east : on the right
bank of the Rhône were the thermal baths of the “Palais du
Miroir” and the Esplanade, on the left bank, the forum
(including Augustus and Livia temple), the theatre, the
sanctuary at the top of Pipet Hill and a sacred site on Saint
Blandine’s Hill.
On either side of the theatre were places dedicated to leisure
and entertainment, which were inherited from the Greek era.
Towards the northeast was the stadium (where races, fights and
lance-throwing competitions were held), and towards the
south was the odeon (where spectators listened to singing and
poetry). Finally, further south was the circus, where 15 to
20.000 spectators could watch chariot races.
All of these leisure and entertainment sites were to be found in
Vienne, except the amphitheatre, the site of which has yet to
be confirmed and which was home to gladiator and animal
fights.
In the 4 century, theatre shows were disapproved of by the
Church and consequently banned by the emperors. The
theatre is thought to have been used as a refuge during
periods of unrest and insecurity. A large number of stone
blocks were re-used for the
foundations of new constructions or transformed
into lime. The remains
found themselves progressively hidden under earth
and terraced gardens which
were arranged on top.
th
A second life for the theatre
The monumental centre of Vienne in the 2nd century (model scale 1/500e, by A. Le-Bot-Helly,
B. Sagnier-Minguet, construction F. Trouvé, 1998, Museum of “l’Ancien Evêché”,
Grenoble), photographer Y. Bobin.
Today, some archaeologists question the relevance of the
number of tiers restored by Formigé. The Roman Theatre was
unveiled in 1938 by French President Albert Lebrun. Hector
Berlioz’s “The Damnation of Faust” was perfomed for the
occasion. Work to clear the site continued until 1947.
A Heritage Plan for Vienne
Vienne’s archaeological and architectural heritage is
exceptional. During the past years, the local Council has been
aware of its possibilities for its cultural and economic
development and for tourism. That is why the town Council
published a ten-year “Heritage Plan” in 2005 to protect, restore
and promote the city’s heritage with the support of the
Ministry of Culture, the “Conseil Général de l’Isère” (the Isère
Assembly) and the Rhône-Alpes region assembly.
Twenty-three monuments belonging to the town and
seventeen privately-owned monuments went through a
thorough examination in order to establish a schedule of work
to be carried out.
The first phase of the Heritage Plan took place in the Roman
Theatre in 2005. During antiquity, the drainage system of the
theatre consisted of drain channels which fanned out to two
semi-circular collectors. Water was drained under the edges of
the tiers and then poured into a main sewer situated in front of
the stage. The drainage system was damaged as the theatre was
abandoned; it is now being restored.
Vienne is part of the national network “Cities and
Countries of art and history”
The department of the French Ministry of Culture and
Communication, which oversees Architecture and Heritage,
awards the label “Cities and Countries of art and history” to
local authorities that keep their heritage alive. It guarantees the
competence of the guides and various community workers in
architecture and heritage, as well as the quality of their work.
From the vestiges of antiquity to 20th century architecture,
Cities and Countries highlight this heritage in all its diversity,
and today a network of more than 110 Cities and Countries
offer their know-how to people all over France.
Nearby
Albertville, Chambéry, Valence, Saint-Etienne, le pays du lac
de Paladru – les trois vals, le pays du Forez, le pays de
Trévoux/Saône-Vallée, le pays des Hautes Vallées de Savoie, le
pays de la vallée d’Abondance, la communauté d’agglomération d’Annecy … All these local authorities were awarded the
label « Cities and Countries of art and history ».
Enquiries
Vienne Ville d’art et d’histoire
Service Animation du patrimoine
1 Place du Jeu-de-Paume 38200 Vienne
Tel. : 04 74 53 41 41
Mail : [email protected]
Roman Theatre in Vienne
Tel. : 04 74 85 39 23
Egouts
Sewers
Aqueduc
Aqueduct
Starting in 1922, Jules Formigé, Head Architect for Historical
Monuments, began clearing the site in order to recreate a
cultural and entertainment venue. The remains were covered
by more than 6 metres of earth in some places, but little by
little the site was restored. Formigé reconstructed certain elements with the ancient Greek unit of measurement, the cubit
(approximately 0.45 m), used earlier in the construction of
Greek theatres.
The antique drainage system (Regional Archaeological Department – Rhône-Alps)
Websites about Vienne
www.vienne.fr
www.vienne-patrimoine.com
www.culture.fr/culture/arcnat/vienne/fr/
www.vienne-tourisme.com
Brochure published by Vienne Council. 2007.
© Ville de Vienne, Musées de Vienne, unless otherwise stated.
: cover photography, panoramic view from the top of the tiers,
general view of the theatre.
Graphic design :
in accordance with the VPAH LM Communication Charter
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The stage area and the orchestra
The cavea
The site was a closed-in structure, very different to what it
looks like today. It was made up of three areas: the stage ,
the orchestra
and the tiers .The wall situated behind the
stage originally reached a height of 32 metres. Only certain
parts of the stage area are left : the foundations made of
masonry, the base carrying the wooden planks, the trench
housing what was the stage curtain and traces of the central
gate. The foundations of the northern basilica (situated near
the ticket office) were excavated in 1998. The wall situated in
front of the stage
(pulpitum) was rebuilt in a completely
wrong way by the restorers of the theatre so it could include a
frieze of animals, which belonged to the procession of the god
Bacchus (the originals are at the Saint-Pierre Museum). The
Greek word “orchestra” means “dancing place”. This
etymology brings to mind the role of the orchestra, which was
occupied by dancers and choirs in Greek theatres. In Vienne,
the ground of this semi-circular area of 21 metres in diameter
contains partially restored decorations made of yellow
and pink marble.
The cavea (from the Greek word meaning “viewing place”)
is divided into three areas which correspond to different social
categories. Separated from the rest of the tiers by a stone
balustrade (balteus), the four lower rows, made of marble,
were reserved for the leading citizens. Only four restored
griffin-paw seats remain. Above them are two sets of twelve and
thirty tiers, where free citizens, foreigners and emancipated
slaves were placed. Slaves had access to standing room at the
top of the tiers. The tiers were covered by blocks of “choin”, a
hard, pale-coloured, calcareous stone, and looked very different
from the tiers now in place, which were almost entirely
restored using masonry.
In order to ensure an easy flow for spectators, the tiers were
accessible by stairways on both sides of the cavea, as well as by
two ambulatories situated underneath the tiers. These arched
corridors opened into the cavea via doors (vomitoria). Small
stairwells
fanned out from this point, allowing easy access
to seating. The same access system is used today. However the
extremities of the tiers, supported by a system of vaults, have
however not been restored, and metal flights of stairs have been
installed.
Cavea
Vomitoria
Stairs
Balteus
Orchestra
Pulpitum
Stage area
Detail from model
at the Museum of
“l’Ancien Evêché”,
Grenoble.
At the top of the upper tiers
The impression of verticality is strengthened by the difference
in height (28.5 metres) between the orchestra and the upper
tiers.
Above the tiers this impression was heightened by two superposed vaulted galleries holding up a portico with, in its centre,
a temple dedicated to Bacchus or Apollo. Above the theatre, a
ramp on the hillside above the theatre allowed access to the
Pipet sanctuary.
When facing the stage, one can see the odeon on Saint-Just
Hill (to the left). This semi-circular monument was built in the
2nd century and has a diameter of 72 metres. It could hold
3,000 spectators for concerts, poetry readings or conferences.
In Gaul, only Vienne and Lyons had both a theatre and an
odeon.
Panoramic view from the top of the cavea
To be seen
at the Saint-Pierre Archaeological Museum
Works of art discovered in the Roman Theatre
During the excavation of the Roman Theatre from 1922 to
1938, a large number of sculptured blocks were discovered
without their precise location being recorded. This made the
work of archaeologists more difficult.
A marble frieze with animal
motifs (large hounds, bulls,
panthers, goats) is a reference
to the procession of Bacchus,
god of wine and festivity.
The portrait of Antonia Minor (niece to Emperor
Augustus and mother of Emperor Claude),
discovered under the stage, is said to back up
the assumption that the theatre dates from
around 40/50 AD. However, near the stage,
archaeologists discovered lime ovens, where
blocks of Roman lime from ancient buildings were burnt after
the theatre was abandoned.
Works of art depicting actors
The theatre as it is today
Layout: Archaeological survey (Rhône-Alpes Regional Archaeology Department)
From the spectacles of Antiquity…
…to those of today
The theatre was the place where people from all social categories
could watch, free of charge and for whole days at a time, civic
ceremonies and various events funded by magistrates. Comedy
and tragedy were neglected in favour of more popular events.
Mimics caricatured the words and gestures of everyday life.
Atellane farces highlighted various popular characters. During
pantomimes, a masked dancer would impersonate characters in
various situations. He was accompanied by a group of
musicians and singers, who would sing about the situations
mimed by dance.
Each summer since 1938, various cultural events have taken
place (opera, concerts, shows, ballet). Ninon Vallin (18861961), a world famous regional opera singer left her marks
with spectators. The theatre has hosted the “Jazz à Vienne”
festival since 1981 with audience figures over 100,000 every
year, not including audiences at concerts throughout the town.
Comedian’s mask (detail from the Mask
Mosaique, Saint-Pierre Archaeological Museum)
The altar for a company of comedians
subsidised by the Asiaticus family
(Saint-Pierre Archaeological Museum)
The Mask Mosaic discovered in the
Gère Valley in 1977 contains masks
for tragedy and comedy. The actors
of these classical repertoires wore
masks of different colours which
allowed the different characters to
be identified.
This oscillum made of marble represents an
actor holding a mask. Oscillae were decorative
elements hung for display around the interior
gardens of wealthy families’ houses.
The «Jazz à Vienne» festival