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Bobadela

Bobadela Amphitheater

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Discovered in 1980 by a group of archaeologists, is of simple structure, built with an ellipsoidal sand and wooden bleachers, was raised in the fourth century AD, and destroyed by fire in the late fourth century. The building had siso left before the fire.








SOURCE: www.freewebs.com / juntafreguesiabobadela / anfiteatro.htm

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Circos en Hispania

Aerial photographs of some of the Hispania Roman circuses. ( Clikee images to see larger ).

Roman circuses were the facilities for horse racing and cars. They were inspired by the Greek race tracks and stadiums but measures were much higher than these.
Sand, who had a very long, was split in two by the "spina " which was two blocks from where they were opponents.
addition to being aimed at the races, they also performed in shows and performances commemorating the events of the Empire, some of them were copies of battles occurring and some naval character, for it was flooded building sand.
In this " spina " used to summon central commemorative obelisks and columns as well as statues of military heroes and leaders of prestige.

Circus Maximus in Rome
are identified in Hispania Roman circuses Córdoba (Colonia Patricia Corduba), Mérida (Augusta Emerita), Toledo (Toletum), Tarragona (Tarraco) Sagunto (Saguntum), Calahorra (Calagurris) Segobriga, Santiponce (Italica), Valencia (Valentia), Laminium (Alhambra) and Santiago do Cacém (Miróbriga), which is the only one located in Portugal. Del
Santiponce
there are only written references, of Cordoba, Sagunto, Valencia and Alhambra only evidence we have received, their sites are occupied by the urban fabric of these cities.

The Calahorra is "fossilized" in the Paseo del Mercadal where some remains: a masonry wall, a drain and a water pipe of the circus.

Calagurris CIRCUS (CALAHORRA)


are clearly visible only in Mérida, Tarragona, Toledo and Santiago do Cacém that still remains significant and visited. CIRCUS

Tarraco (Tarragona)



CIRCUS Emerita Augusta (Merida)



Toletum CIRCUS (TOLEDO)



Miróbriga CIRCUS (SANTIAGO DE CACEM)



Very recently excavated from Segobriga. Excavations have established that the circus was never completed and that this building was built on a cremation cemeteries. CIRCUS

Segobriga


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Teatros en Hispania

Aerial photographs of some of the theaters Roman Hispania illustrating the text of Vitruvius on the location and layout of these buildings. (Clikee images to see larger.)

SAGUNTO THEATRE
De Architectura - Book V, Chapter III
The location of the theater
Once you Forum has been established, should be chosen the most favorable and healthy for the theater, where games are developed during the days dedicated to the immortal gods, as we said in the book first, to discuss the sanitary conditions in construction of cities. During the performance of the games, people are sitting a long time with their wives and their children, entertained and amused by the spectacle their bodies, to keep quiet for the pleasure of witnessing the performances, leaving open pores where it goes permeating the air, which itself comes from marshy and unhealthy, introduced into ordinary bodies harmful.
therefore be chosen carefully for the place for the theater and would avoid such inconvenience and discomfort. Special care must also be in its orientation, so you can not see the wind punished for proceeds from the midday sun as its rays fully completely fill the perimeter of the theater and the enclosed air or occluded in the curve, not to expand freely, it overheats as a result of its motion, it becomes very hot, reaching a searing burn, thereby reducing the moisture of the bodies. For this reason, should be avoided particularly unhealthy places to be chosen more wholesome. Everything will be much easier if the foundations sit on a hill, but if the terrain requires to build the theater in a plain or swamp, the foundation will settle deepened and as we said in the third book, in dealing with the foundations of the temples.

TEATRO MERIDA
on the foundations shall specify the steps of stone or marble. Separation corridors should be proportionate to the height of the theater and its height should not be greater than its own width. If they had a greater height, would reject the voices and elevate to the highest parts of the theater center, not allowing it comes to clarity the meaning of words in the ears of those sitting the top runners. In short, for optimal resolution, proceed as follows: separation from the corridor to the lowest grade to the last row and stores a string so that it touches the edges and corners of the stands and well, the voice will not be hampered. It is very desirable to distribute a wide and spacious access, access or entry into the higher tiers will be separated from those located below, and all must be followed, straight, no curves, so that when the audience leaves the show, not suffer tightness, but from anywhere access to exits, conveniently separated without any hindrance and without problems.

TEATRO DE BRAGA
should also be borne in mind that the place does not drown the voice but allow it to spread quite clearly what can be achieved if we choose a place where there are no resonances. The voice is like a breath of wind that flows and is perceptible by the sense of hearing. The voice is diffused due to countless circular ripples, as many waves as they emerge to throw a stone into a pond, circular waves are from the center spread and occupy the entire surface of the pond, if not interrupted by a narrowing place or by any impediment, impeding which reaches the shore. But if you stop its expansion, the first waves collide, they overflow and break the order of the following waves, undo. For the same reason, the voice produces circular movements or impulses, but with a difference from the water the circles move horizontally only, instead the voice expands in width and gradually rises vertically.

THEATRE OF CARTAGENA
Therefore, as with the direction of the waves on the water, if no obstacle interrupts the first wave of the voice, not void the second or the following, but all-sin any kind of resonance, are heard by both viewers and the bottom rows for the back rows. Precisely because of this, the ancient architects, following the traces of nature in his research on the expansion of the voice, which rises naturally, made to perfection the steps of the theater and sought, through mathematical calculations and musical proportions, every word spoken on stage came to the viewers a clearer and more enjoyable. As the wind instruments, whether brass or horn, achieve a great sound to accompany the strings if they are perfectly tuned, so the former set the structure of the theater, through the rules of harmony and with the aim of boosting the volume of voice.

SANTIPONCE THEATRE
TARRAGONA THEATRE

De Architectura - Book V Chapter VI
theater Path
plant or arrangement of the theater should be ordered as follows: according to the diameter of the lower part (orchestra), draw a circle using as center the midpoint of this diameter and describe four equilateral triangles, at equal distance, touching the circle line, calculate twelve parts, as astrologers come with the twelve celestial signs, commensurate mathematical about music of the stars. The side of the triangle that is adjacent to the scene, which cuts the circle, right there, will determine the front of the stage, from this same point and the center with string Draw a line parallel to the front-stage - separating the proscenium stage of the part of the orchestra. Thus, the stage will reach a greater width than that of the Greeks, as all our actors perform on stage and orchestra seats will be reserved for senators. The height of the platform should not exceed five feet those who take their seats in the orchestra to appreciate the movements of all players.

TEATRO DE ZARAGOZA
The lunettes Divide tiers or sections so that the vertices of triangles, which cover around the whole circle route, line up the climbs and stairs to the first corridor, which separates the seats of the knights of the general public, through alternate access pay attention and over the middle sections. The angles are fixed at the bottom and lining the stairs will be seven, the other five angles demarcate the structure or arrangement of the scene: the central angle should be facing the door regia, and the remaining left and right define the layout of the gates of the "guests", the two extreme angles will be compared to the corridors of the corners. The bleachers where the audience sits down, have a minimum height of one foot and six fingers and their width or depth no more than two and a half feet, or less than two feet. The roof of the porch, to be located in the back row will be the same level as the height of the stage, for the voice, the way up, becoming equal to the last steps up to the roof of the stage. If it were not the same level and was lower, the voice actors to lose their strength reach the height that first encounter.

GEOMETRY OF ARCHITECTURE AS THEATRE
© Jean Brien
The diameter of the orchestra, the lower bowl, take one sixth and at the ends and around, where are the doors, cut away the perpendicular lower tiers, with the same height as the sixth, where it is cut right there Put on the lintels of the corridors and, thus, have a sufficient height vaulted. The length of the stage should measure twice the diameter of the orchestra. The height of the podium or pedestal shall be flush with the height of the platform, which will be one-twelfth the diameter of the orchestra, including the cornice and cornice. On the podium will rise up some columns with a height-telling their capitals and bases, equivalent to a quarter of its diameter. The architraves and ornaments measured one-fifth of its height. The upper pedestal, along with its cornice and cornice, measure the bottom half of the pedestal. It will rise on a column whose height is a quarter lower than in the lower columns, the architrave and trimmings measured one-fifth of its columns. Similarly, if you have a third floor, the upper pedestal measured half the intermediate pedestal columns have height above a quarter less than intermediates, and the architraves with cornices have high one-fifth of these columns.

THEATRE OF BOLOGNA
However, it is possible that all the theaters are adapted to these ratios in a total symmetry, so that the architect should be concerned to observe the precise proportions symmetry shape, adapt to the configuration, and the magnitude of his work. Whether in a small theater like the large, there are elements that have the same compulsory measures, taking into account its utility, its purpose, as are the stands, the grounds, walkways, parapets, stairs, platforms, courts and other items that may be introduced, the need to force us away from the symmetry, the aim is to keep all its practical aspects. Similarly, if there is a shortage of material, such as marble, wood or other suitable material to build the theater, there will be no problem to delete or add any detail, if not too excessive, it is a reasonable . And it will, if the architect has a profound practical accompanied by a versatile talent and a qualified technical.

CADIZ TEATRO

MALAGA TEATRO
The stage also has its own distribution: middle doors possess the ornamentation of a royal palace and side doors are for foreigners (s) will be also working spaces for the sets, which in Greek is periactus call, which will be located a few machines with rotating triangles for each of the three kinds of sets, when you go to modify the work to represent, or when the gods intervene, you can change and modify sudden thunder through the sets commensurate with the representation. Behind this area protruding about angles that allow the stage entrances: one for those who come from the forum and one for those coming from afar.

MEDELLIN THEATRE
ALCUDIA THEATRE
Segobriga THEATRE
CLUNI THEATRE
are three kinds of scenes: tragic, comic and satirical, his sets are very different for various reasons, the tragedies are represented with columns, pediments, statues and other royal, the comedies have the appearance of private buildings with balconies and windows that simulate ordinary buildings, the satirical are adorned with trees, caves, mountains and other features of the landscapes that mimic field.

ACINIPO THEATRE
Bilbilis THEATRE
BADALONA THEATRE

Carteia THEATRE


GUADIX THEATRE
HUESCA THEATRE

THEATRE OF LISBON

TEATRO DE PALMA

THEATRE Valentia

Ebor THEATRE

THEATRE REGINA TURDULORUM

OSUNA THEATRE

THEATRE " Uxama?

It also has news of the existence of Roman theaters in places of Córdoba, Antequera, Lugo, Monreal de Ariza, Ecija, Barcelona, \u200b\u200bBigastro, Cazlona, \u200b\u200bVelilla de Ebro, Sevilla, Mahon, Almuñecar and Toledo.


© Carlos Sánchez-Montaña

More information: Http://www.vitruvio.es/

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Bracara Augusta

Braga Amphitheater

In November 2008 I presented the investigation of a new hypothesis on the location of the amphitheater in Braga. PLANT





BACKGROUND There has long been this archaeological site of the city of Braga.
POSITION OF BUILDING IN URBAN PLOT - Drawing
1976 base: http://www.geira.pt
The ellipse-shaped walls are in urban mapping.
POSITION OF BUILDING IN URBAN PLOT
base Drawing: http://www.cm-braga.pt
old photographs showing the location of the building.
POSITION OF BUILDING BEFORE RUNNING TRACK base
Photo: http://forum.bracarae-avgvste.com


AERIAL VIEWS ( Clikee images to see larger ).



Bracara Augusta has an amphitheater almost completely buried and partially destroyed. There
written references from the seventeenth century, their presence urban at a location very close to the theater building and inside the walls of the high-imperial Roman city. Possibly both were built simultaneously in the first century AD The buildings were placed on the axis of maximum decumano forum and East. The arrangement between the two buildings is reminiscent of Augusta Emerita .






an excavation has been done in the "island Carvalheiro das" in the interior of the ellipse-shaped structure of aerial photographs , and where it has found a domus first century, the House of Carvalheiro.
is likely that both buildings were in succession, an amphitheater built on a high imperial house.
At a time when the urban fabric of Bracara changed, and the new needs of the city built the theater and the amphitheater. The domus is well integrated into the arena of the amphitheater. The area has
walls and elliptical-shaped structures that relate geometrically to the excavated walls in the theater, and are visible to the naked eye.
The amphitheater was destroyed at the end of the third century or the beginning of the fourth, when the wall was built under-imperial, to which was a source of building materials, and its foundations were bordering con los nuevos muros de la ciudad. El
amphitheater Bracara Augusta hopes to be rescate del olvido.

POSITIONED THEM BUILDING PLOT URBANA EN LA
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The amphitheater
"Bracara Augusta has a theater, now fully
buried and partially destroyed.
Testimonials attesting to their existence are
references to it made by scholars bracarenses
the seventeenth and eighteenth centuries, particularly
D. Rodrigo Cunha (1634) and Counter
Jerónimo Argote (1728, 1732-34). When the first is due to
express mention of the existence in the parish of St. Pedro de
Maximinos in a half circle, where was the place
amphitheater (Cunha 1634). J. Counter
of Argote's even more precise in their location,
saying that was the site of the ancient church of S.
Pedro de Maximinos, referring
it was round and that, in D. Rodrigo da Cunha,
still enjoyed clear traces of their "factory"
(1732-34). The text of Argote
reveals clearly that in his time, the ruins of the building were already
difficult to understand. The last written reference to the amphitheater
comes by the hand of Pereira Caldas, reporting
to 1852, consisting of a roadmap for the artworks that
Queen Maria I and Prince
D. Fernando could see on the trip to the District of Braga
. In it refer to "the scant remains of which still
epizooty manifests, in excavations, ancient Roman amphitheater d'"
(Caldas 1852).
certainly having ceased to be visible in
second half of the century. Century, when it was destroyed
also the ancient church of S. Pedro de
Maximinos, the approximate location of the amphitheater
can be estimated based on analysis of aerial photography
.
------------------------------------------------- -----------------------
The test conducted by Rui Morais
on the frames of 1964, resulted in
confirmation of a half circle,
corresponding to a large structure buried,
located on the axis of R. S. Sebastian, whose route
correspond approximately to the maximum Decumano
west of Augusta Bracara (Mitchell 2001, figs.
3, 4, 5 and 6).
------------------------------------------------ ------------------------
Considering the location of this important building
playful, it is nonetheless suggestive
correlate their alignment with the theater, recently
identified on the hill Alto da Cividade being
also noted that both buildings are located on the axis
forum and maximum Decumano
Eastern.

Given that the construction of the theater
date of the beginning of the century. II, it seems acceptable to admit
the same timeline for the construction of the amphitheater,
given the playful nature of the two units.
In fact, both are important elements
prestigious cities and vehicles
ideological expression that permitted in provincial cities
, the reproduction of large demonstrations
Roman public life, as were the munera
and ludi scaenici (Fuentes Domínguez 2000).
By contrast, the visual articulation of the two buildings,
according to its topography suggests
were conceived as interconnected elements of the staging
city, which enhances the idea of \u200b\u200bits construction
more or less simultaneously. Today
buried and overlaid with several buildings,
this great equipment must have been quite devastated
, and may have served
quarry for medieval and modern. In
However, we believe that, as happened with the theater
Alto da Cividade, the amphitheater
may have been abandoned at the end of the century. III / IV
beginnings, having started then dismantle its
for obtaining material for the construction of the wall
.
Fuente: Urbanism and Architecture in Bracara Augusta. Balance the contributions of Urban Archaeology . Maria Manuela Martins. Minho University
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Theater Braga
En una area muy al amphitheater next y al edificio de las spa el se ha excavated Yacimiento the theater. The building has about 80 m. in diameter.