Conservation of the Great Theatre in Ephesos

The Great Theatre in Ephesos

The Great Theatre of the Hellenistic-Roman city of Ephesos was built into the western slope of the Panayırdağ using a natural rock formation. The originally significantly smaller Hellenistic building grew via expansions to the west into one of the largest theatres of antiquity, with a diameter of ca. 150 m and a capacity of between 21,000–25,000 people.

The Theatre was the venue for artistic performances and gladiatorial fights, yet also an important station within the scope of the cult procession for Artemis of Ephesos. Last but not least, it also served as the site for the assembly of the people, the Ekklesia. In this function, the Theatre was mentioned in the books of the Apostles, which report about an uprising of the Ephesian silversmiths against the missionary activities of St. Paul. The Theatre first lost its original meaning in the Byzantine period, when part of the stage building was integrated into a fortification structure and utilized as a tower.

History of Excavations

After a first investigation, carried out under the auspices of the British Museum under the direction of John Turtle Wood (1866–1868), there followed an almost complete uncovering of the Theatre by the Austrian Archaeological Institute under the direction of Rudolf Heberdey.

Since 1997, a structural-historical investigation has focussed on the architecture of the stage building and the auditorium, with field research being completed in 2010. A project to consolidate the structure, in cooperation with the Technical University of Vienna was initiated in 2004. The scientific processing of the Great Theatre of Ephesos lies in the hands of the Austrian Academy of Sciences.

In 2010 a three-stage plan for the adaptation and re-opening of the building for cultural events was developed by the OeAI and its implementation was begun. It is anticipated that restoration work will be completed in 2018.

General Methods

From the time of its construction in the Hellenistic period until today, the Theatre has undergone numerous repairs and conservation measures. In ideal circumstances, conservation means the hindering of processes of decline, yet nevertheless this involves a permanent maintenance of the structure. At the Theatre of Ephesos, it can be observed up until very recently that conservation and restoration measures always occurred as a reaction to massive destruction or drastic alterations. Amongst such occurrences can be counted severe earthquakes as well as, for example, the enlargement of the building in the early Imperial period. In the Byzantine period, the function of the building was permanently altered, and with the abandonment of the city the Theatre was also surrendered to ruin and valuable building material was successively removed. Rediscovery, excavation and the conservation measures carried out contemporaneously have resulted in the structure visible today.

The restoration project intends to revive the original function of the building, nevertheless under the most stringently controlled regulations. The legibility of the building phases should be taken into consideration, as should the approved conservation interventions of the past. In order to be able to implement a successful conservation, it is necessary to evaluate earlier conservation procedures, whereby particular attention should be paid to their technical practicability and impact. Every step taken should be integrated successfully in the overall aesthetic picture, always making sure that the interventions selected for the project represent the latest phase in the building history of the monument.

Planning

The conservation programme has been divided into three phases. The goal of this strategy is to be able to present an interim report in the foreseeable future and thus to enable the usage of the Theatre, without having to wait for the complete conservation of the structure. Bearing in mind that the complete restoration of the Theatre will take a long time, and given the preconditions of permanent maintenance and care, a multi-stage plan which would allow the co-existence of usage and conservation was necessary.

The project comprises three main steps, which are embedded in a time plan for the re-opening and usage of each area for cultural events.

Step 1: Conservation and re-opening of the ima Cavea, media Cavea, the first Diazoma, the Orchestra, and the entrances N1 and S1 for cultural events with a maximum capacity of 2,200 visitors

The aim of the first step is the opening of areas of the Theatre for cultural events with a minimum of conservation interventions, yet certainly with all of the necessary measures for consolidating the building and for safeguarding the public. The implementation of Step 1 will enable the realisation of the original function of the Theatre in the shortest possible time period, yet permits the continuation of conservation work in other areas of the structure.

Step 2: Conservation and re-opening of the stage building as a backstage area for concerts

This step is based on the results of research into the stage building, and includes a partial anastylosis as well as a complete conservation.

After the completion of Step 2, the events should be confined to acoustic concerts which require no alterations to the ancient structure. In addition, prerequisites will be put in place for more complex performances which involve modifications to the structure.

Step 3: Conservation and re-opening of the summa Cavea, of entrance S3, of the second and third Diazoma, and of the porticus, for events with a maximum capacity of 4,400 spectators

Step 3 represents the final phase in the conservation programme of the Theatre. Necessary for this step are archaeological excavations in the north, as well as above the porticus. The third step is dedicated, first and foremost, to the auditorium, although it should certainly not be ruled out that the visually and architectonically significant façade of the northern analemma as well as the substruction chambers might be integrated into this design phase.

The 2011 Campaign

In 2011 the consolidation of the southern analemma was continued. Numerous cracks discovered in the drystone wall construction turned out to be much more pervasive than initially expected, delaying the completion of the work. In addition, the skin of concrete which had been applied over the opus caementicium upper surface during the course of earlier restoration work was removed and replaced with lime mortar.

After a thorough cleaning of the media cavea, during which the upper surface of the stone was freed from biogenic growth and cracks were repaired, an extensive excavation of the first diazoma was carried out. After the archaeological finds had been documented, the entire area was refilled with broken stone and lime mortar up to the ancient walking surface.

Work was additionally concentrated in the northern entrance into the first diazoma. The ascent was secured, bolstered by stabilizing supporting elements of steel. Planning and execution of the work was carried out by the company Convex, while the Ephesus Foundation provided substantial financial support. The areas between the supporting elements were used for the setting up of descriptive billboards, which provide information regarding the history of research and excavation, the construction history and history of usage of the Great Theatre of Ephesos, as well as about the current project.

After the completion of this work it will be possible, after years of restoration work, to re-open the southern entrance to the Theatre and to distribute equally the throngs of tourists.

Contact

Sabine Ladstätter
Nevin Esin Tekin