The Restitution proposals and conservation problems of the hellenistic theatres in the west Anatolia

ABSTRACT In ancient times, expressing the natural happenings in the form of scene shows, gained a religious character in the course of time. The Birth of the Gods, who represent nature, is celebrated with enthusiasm (Spring), and death is represented with mourning ceremonies (Autumn). In the Hellenistic world, the name of the nature God was Dionysos, and he was given a variety of attributes. At first, he was the God of enthusiasm and entertainment later he was the one whom the peasants trusted in battle against the nobles he was followed by large of people. During the Peisistratid period (534 BC.) in Athens, festivals were held in the name of Dionysos and this was the beginning of theatre art. Competitions unvolving plays, were a part of these festivals and the contestants had to present satyr three different kinds of plays: tragedy, comedy and satyr plays. In the Classical period of Greek Theatre, the plays which were performanced by a very large chorus, took place in a flat, circular area (orchestra). It was easier to watch the plays, if these flat areas were close to the slopes of hills. On this slopes, first wood, than stone benches were placed (cavea) The geometry of the raws of seats (cavea) for the audience was more than half a circle, closer to the shape of a horse shoe, to ler more people watch the plays. On the opposite side of the orchestra, tents and huts were built for storage and back-stage functions. When the cavea had a fixed place, the tents were turned into stone buildings (scene). (Ex; Athens Dionysos) In the Hellenistic Period, from the 3rd Cent. BC. with changes in the composition of plays and players, a new story was added to the stage building also functioned asa storage unit and as scenery. In the Cavea, some special seats and armchairs (proedria) were added (Ex: Priene). With the development of the Roman Empire a new mentality in art begun to spread. Theatres began to be used not only for plays, but also for special ceremonies and imposing shows and became the prestigious buildings of the Empire. This process started with the adaptation of the Hellenistic theatres to Roman's needs with some changes and additions. The cavea was raised with the used of the vaults; the stage building became multi-floored and was widened (scanea frons) (ex; Ephesos). In the cities which developed during the Roman Period, some new theatres were built in the Roman style. (Ex; Aspendos). These theatres have some differences from the Hellenistic period.. The need of building on the slope disappered with the use of vaults and arches. Vaulted places in order to raise the theatre were also used to allow the audience to circulate.. Overing the passages between Cavea and scene (parados) with vaults helped the building to be perceived as a whole. At the slope of the cavea, porticos with arches, strengthen the aesthetical effect. In the Hellenistic the cavea and scene were separated.. The orchestra in which plays no longer took place became smaller and lost its geometry as a whole circle. Later it was deepened to be used in a water and fighting shows-konistra.. Despite all the developments in the Roman Period behind the richnes of the ornaments, one can easily distinguish them from Hellenistic Theatres by the rough and careless workmanship. Anatolian Theatres are studied in 4 groups for their uses and periods; 1- Theatres which have original Hellenistic Characteristics. (Priene, Pergamon, Metropolis) 2- Theatres which lost their original Hellenistic Characteristics in the Roman Period. (Ephesos)3- Theatres which were built in the Hellenistic character in the Roman Period (Greko-Roman) (Aphrodisias, Kadyanda) 4- Roman theatres (Aspendos) As Theatres, which have original Hellenistic Characteristics, 3 theatres in western Anatolia studied. In 1921, as a restitution suggestion of Armin von Gerkan, for having more architectural findings, Hellenistic Period had taken as a base in Priene Theatre among other styles, which called liberation. Since 1922, by Wolf Koenigs, conservation, consolidation and reconstruction techniques were applied to in- situ blocks of skene and proskenion. In Pergamon, some proposals have been brought for the revival of Theatre, stoa and the temple. First, supporting walls of the theatre terrace should be consolidated. Besides, setting up the wooden scene building mass again was suggested too. In Metropolis Theatre which was excavated a short time ago, yet no restoration works have taken place. In research process, adding of different periods and reasons for deterioration have been examined. As Theatres, which had lost their original Hellenistic Characteristics in the Roman Period, theatre of Ephesos have been chosen in the thesis Since 1993, in restoration works, directed by Ibrahim Ataç, consolidation and partly reconstruction works have been made. These studies are consist of repairing the damages of the earthquakes, which happened in 2nd and 4th Century AD. In this study, mostly the theatres which were built in the Hellenistic Character in Roman Period, have been focused. The Period between 1st Century BC and 1st Century AD is called transition period. Among the examples of this period, 2 theatres have been researched in detail. In the theatre of Aphrodisias, according to the bibliographies and measurements taken in place, some determinations and evaluations could have been made. In Kadyanya Theatre, with the help of the architectural findings on the surface, restitution's suggestions have been developed. These studies (with their results) are compared with Priene, Ephesos and Metropolis theatres and some importantconclusions are produced. Similarities of the theatres which have 2 centuries age difference between each other are important for showing the continuation of the traditions. As an example of Roman theatres, Aspendos theatre have been examined briefly. As a conclusion, the importance of western Anatolian theatres among the history of world theatres have been determined. The main question is the protection of these monuments. The Segesta Report, which accepted in 1995, consists of items about preservation of antique theatres all around the world. According to these items, first the laws to supply the preservation function should be applied, scientific and technical education should be given and materialistic opportunities and substructure of the system should be set up. Consciousness of knowledge transferring between users and authorised people in the society should be constituted. To rise the consciousness in the need to protect, some organisations can be made to attract attention, but without causing any damage on the monuments.