The Theatre of Chaeronea and Rectilinear Koila

Abstract

T theatre of Chaeronea, in Boeotia, has always been of great interest due to the rectilinear plan of its early structure. Excavations carried out in 2009 have enabled us to observe previously undiscovered phases of construction and parts of the building. Thanks to these surveys, we can now discuss the monument’s creation and architectural evolution, concentrating on the redefinition of the theatre’s koilon. This article aims to re-examine the structures of the theatre of Chaeronea, starting with an examination of some of the most interesting rectilinear koila in Greece. In recent years, excavations in continental Greek have led to a revival of the endless debate on rectilinear plans and on the relationships between fifthcentury theatres exhibiting plans with rectilinear staircases. Following the canonisation of the semi-circular plan, did all theatres suddenly take up the new model? When did the theatre of Chaeronea abandon its rectilinear shape to imitate the semi-circular theatres of the fourth century BC? Can we really imagine an immediate and sudden upsetting of theatre plans without considering the spread and reception times of the new model? How much did local needs and specificities influence the redefinition of old theatres? The following paper does not necessarily aim to answer all of these questions, but draws attention to certain issues arising from the Chaeronea theatre case. The small Boeotia town experienced its greatest economic and demographic development starting in the late first century BC. Evidently, however, consistent with a regional situation that was particularly active1 in theatre construction, it had already built its small theatre in the fifth century BC, despite its small size. “There is no incontrovertible evidence for an orchestra circle before the theater at Epidauros was built at the end of the fourth century BC”, concluded Gebhard2 in a long 1974 article on orchestra shapes in the most ancient Greek theatres. Her research came after a long series of studies on rectilinear plan theatres and was trailed by many other articles searching for common aspects that could be potentially attributable to a widespread