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HENRY C. MONTGOMERY
theatron, or theater,
THEa place
for seeing, and
is literally
rium a place for hearing. Under reasonably favorable conditions these purposes can be achieved, but when the
theater-auditorium is of outsize capacity the visibility is naturally lessened and for many in the audience
the auditory function would, supposedly, practically reach the vanishing
point.
Greek theaters in antiquity were in
many instances of huge proportions but,
under ideal conditions of occupancy
and weather, the acoustical properties
approach perfection by modern tests.
We know that the theater of Dionysus
in Athens could seat 17,000 spectators,
and that the theater in Epidauros can
still accommodate 14,000. In his work
on ancient Greek theaters, published in
1886, Albert MUiller cites estimates of
44,000 seats for the theater at Megalopolis and the astronomical figure of
56,700 for the theater at Ephesus.I Even
assuming something wrong in the calculations for Megalopolis and Ephesus
(but if the dimensions listed by Miiller
are correct, so are the estimates of
capacities) the theaters at Athens, Epidauros and elsewhere are of such magnitude as to make audibility a matter
of sheer incredibility. Yet we know that
the Greek National Theater projects
with perfect satisfaction at Athens, Epidauros and Delphi and - when the theaters are empty and the weather favorable - we hear that a coin can be
heard dropping on the altar stone in
the orchestra circle, that reading in a
243
244
HENRY C. MONTGOMERY
diatonic, and whole-tone scales of modem music. And, anyhow, this is not
the significant factor. What was the
purpose of such devices? Vitruvius continues (5.5.3): "Thus by this calculation the voice, spreading from the
stage as from a centre and striking
by its contact the hollows of the several
vases, will arouse an increased clearness of sound, and, by the concord, a
consonance harmonising with itself."
The goal was, then, one of improvement in the tonal quality as well as in
amplification. Without stretching matters in the slightest it is precisely the
goal, sought by mechanical rather than
electronic devices, of what we call today "high fidelity." The vases tuned
for the highest sounds were, for all
practical purposes, the equivalent of
the small speakers known now as
"tweeters" and the large central vase
would correspond to the large speaker
known as the "woofer."
Naturally one wonders if such acoustical attempts were successful and if
Greek theaters still exist where there
is evidence of the construction as defined by Vitruvius. No bronze vases
have been found and that is not to be
expected, but earthenware vases, apparently for this purpose, have been
found in ancient theaters.4 Vitruvius
(5. 5. 8) tells us that when Lucius Mummius destroyed the theater at Corinth
these bronze vessels of the theater were
transported to Rome and dedicated at
the temple of Luna - a temple to be
destroyed later in the Neronian fire.
For archeological evidence the authority is Albert Miiller. At Gerasa
Miiller describes the theater as having
twenty acoustical niches, placed near
the vomitoria in the upper part of the
auditorium. At Aizanoi in Cilicia are
twelve pairs of niches in the supporting
wall of the uppermost row of seats.
But at Hierapytna and Gortyn in Crete
the theaters have thirteen niches each
245
sources it is likely that the Cretan theaters were the models in mind, or it
may have been that Vitruvius used
these as models from his own observations. Miiller does not give precise details concerning the placement and
construction of the acoustic cells. Until
such information is available, we can
only assume that they are located, in
single or triple rows, among, or between, the seats; inter sedes, as Vitruvius says. Also to be investigated at the
various sites are such questions as
when the device was put into practice,
and whether its use depended upon the
physical nature of the location.
The very concepts of visibility, amplification, not to mention high fidelity,
were forgotten after the fall of the
ancient civilizations of Greece and
Rome. The revival of the theater and
drama in the Renaissance brought
about a theater that was adequate for
only the privileged few. The chicken
coop and horseshoe opera house continued, in fact, to be the standard until
quite recent times. The first theater
based on democratic principles of seeing and hearing was the Festspielhaus
at Bayreuth, Germany, dedicated in
1886 and designed by the man who
planned to revive the Greek drama in
all its original glory, the composer
Richard Wagner.
Today acoustical engineering is indispensable in the planning of any the-
. These