The study was intended as a preparation for the project to enhance the archaeological area, proposing different intervention hypotheses. The study was used in the call for tenders for the assignment of the definitive plan, which was finally approved in 2019. The interventions, followed by the executive planning, will allow the city to have its archaeological monument restored and ready to use. The first phase of the works, following the assignment of the first lot in 2020, led to the demolition of Palazzo Adamoli and Casa Salvoni. This intervention allowed to gain an access to the whole area and to proceed with the first phase of the refunctionalization plan, i.e. the archaeological excavation. This operation leads the assignment of the second lot in 2023, i.e. an integrated contract for the implementation of the work.

Having abandoned its function as a place of entertainment and celebrations, in the 5th century the building became part of the defensive system that protected the fortified city (the so called “Castrum Aprutiensis”, as later remembered by Gregory the Great), which closed around the ancient Roman monumental area. With the passing of time, the Theatre, partly subjected to plunder, gradually disappeared due to the construction of small housing as well as artisan shops and retail businesses that were hosted within the stands of the Theatre. The result was the creation of a system of buildings with an average of 2-3 floors, as can be reconstructed from old photographs or from the land registers dating back to around 1871. Starting from the twentieth century, interventions to restore the area began, together with plans for urban regeneration.

“La magnificenza di quest’antica città si ravvisa tuttora in tanti avanzi preziosi di statue, di edificj, di bagni, di bassirilievi, e di sepolcri, che s’incontrano in ogni passo. Si vuole, che l’anfiteatro Interamnate fosse riposto nelle vicinanze della chiesa di S.Bartolomeo, di cui restano varj archi sepolti. Nel sito dell’arena si trovò la seguente tavola votiva, da cui si argomentò il nume, a cui viene dedicato: MARTI PACIFERO. Qualche resto del teatro è visibile tuttora nell’orto del seminario. Era di opera laterizia.

Tanto in città, che nel suo dintorno erano costrutti de’ molti bagni. Da uno di essi il sig. Delfico raccolse tre busti di marmo di eccellente scoltura.”

(from “Antica Topografia dei Vestini, Palmensi, Pretuziani e Adriani” - Domenico Romanelli)

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In 1918, during an excavation in the area, until then considered an amphitheatre, historian and archaeologist Francesco Savini surprisingly discovered the orchestra and the “proscaenium”. The Orchestra is the space where the choir performs the action that generates the show, often a ritual action with singing and dancing. The “proscaenium” is the part of the stage extending towards the audience.

Savini’s discovery changed the interpretation that had existed up to that moment. What had been considered as the Theatre turned out to be an Amphitheatre, and vice versa,

In the ancient Greek Theatre it is the choir's entry into the action and the first appearance in the orchestra. “Parodo” is also the name for the first part of the drama that was acted by the choir just after the prologue

ENTRY OF HONORABLE SPECTATOR - ADITUS MAXIMUS - Roman Age

In Roman Theatres this access takes a different function: it becomes the entrance for those spectators who occupy the places of honour.

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Typical structure of a Roman theatre

● Frons scaenae - Front of the scene, a multi-storey structure that served as a backdrop for performances. It could be linear or divided into niches

● Valva regia - Door that opened into the semi-circular niche located in the centre of the “frons scaenae”

● Pulpitum - Stage

● Proscaenium - The part of the stage extending towards the audience

● Aditus maximus - Main entrance, located between the “cavea” and the stage area. It corresponds to the “parodos” of the Greek Theatre

● Tribunal - Grandstand of honour

● Orchestra - Part of the ancient theatre, semi-circular in shape, where the choir performed

● Cavea - Stands for the audience

● Praecinctio - Passage that divided the stands

● Porticus - Pillared portico that crowned the highest level of the stands

Main reconstructive hypotheses of the Roman Theatre of Teramo (panel 9)

On the ground of the available archaeological data, various reconstructive hypotheses have been formulated. The most significant are the study by Cardellini and Montanari in 1934, which proposes a section of the monument with only two orders of steps (“ima cavea” and “summa cavea”), and that of Migliorati and Giuliani which states that the “cavea” might be composed of three orders of steps (“ima cavea”, “media cavea” and “summa cavea”).

These openings connected the corridors underneath the “cavea” with the steps, conveying the public into the different sectors of the theatre distinguished by social class.

The honorary inscriptions engraved on marble that were found by Francesco Savini during the excavations of 1918 allow a precise dating of the Theater. There are two epigraphic fragments: one inscription is dedicated to Lucius Caesar, adopted son of Augustus, who died prematurely in 2 AD; the other refers to Gaius Caesar, also an adoptive son of the Augustus and brother of Lucius, who died in 4 AD.

The size of the inscriptions suggests with high probability that they were located on the frons scaenae of the Theatre, i.e. on the stage front, so that the audience could easily read them even from afar.

The Latin model described by Vitruvius, the most famous architectural theorist of all time, inspires the functional structure and architecture of Teramo Roman Theatre.

Indeed, the monument contains the main architectural features of ancient Roman theatres.

The entrances were divided into Vomitoria, i.e. the entries for common spectators, and Aditus Maximi, i.e. the entries reserved for the spectators of honour. It is with the Roman theater that the latter acquire a new function compared to that of the Greek Theatre where the Parodoi were intended as the entries for the choir into the Orchestra, i.e. the space that hosted the choir’s performances.

The stage was called Pulpitum. The scene front was majestic to the spectator’s eyes, rich with artistic decorations, columns, statues and coloured marbles. This architectural backdrop, built on several floors, was called Frons Scaenae. The semi-circular space was called Cavea, an auditorium where the spectators could sit. It was divided into three levels, separated by social class: ima cavea was the lowest section, reserved for the high ranks of society, such as senators and spectators of honour; media cavea was the central level, reserved for citizens and respectable people; summa cavea was the upper level, intended for a mixed crowd if foreigners, slaves and women.

The diameter of the Roman Theatre of Interamnia Praetuttiorum is about 77 m. It could host 2,700 seated spectators. But, on exceptional occasions, they could be even more than 3,200.

You are in the Quinta Regio, the Picenum, in the Roman Imperial Age of Augustus.

With ENTRA IN SCÈNA you will discover this precious monument and the project to enhance the archaeological site, including the works for the functional recovery of the Roman Theatre of Interamnia Praetuttiorum.

You will follow the progress of the works on a journey that intertwines art, archaeology and architecture, combining history and storytelling, with the stories of women and men who lived in of the city of Interamnia, i.e. the ancient city of Teramo.

Keep up with this wonderful project! Walk on site and “ENTRA IN SCÈNA”.

The history and evolution of the Roman Theatre of Teramo... still have a lot to tell!

This long journey began with the feasibility project of a study by Professor Carbonara in 2010, the study proposes different intervention hypotheses for the recovery and refunctionalization of the Theatre.

In 2020 the final draft is approved to enhance the archaeological area and to achieve its functional recovery. The first works concerned the demolition of Palazzo Adamoli and Casa Salvoni and were completed in 2022.

In December 2023, the executive design and the execution of works were jointly assigned.

Following approval of a specific part of the executive design, the works on the Roman Theatre of Teramo have finally started, partly anticipating the archaeological excavation and consolidation activities of the City Hub. This will lead to a more effective definition of the whole design. Therefore, a pilot construction site has been created to test the intervention techniques on the materials and to gauge the most accurate material restoration of the different surfaces.

The "enhancement project of the archaeological area and functional recovery of the Roman Theatre of Teramo" is financed by "CIS Area Sisma", by the Ministry of Culture and by TERCAS Foundation.

Contracting body is the Municipality of Teramo. 

Executive design and execution of works are assigned to a temporary association of companies among Meg Costruzioni Ltd., CCT (cooperative society of builders based in Teramo) and Archeositemi Cooperative Society.

The following group of experts is responsible for the executive project: 

Studio Croci and Associates, 

Alessandro Bozzetti, Engineer

Laura Romagnoli and Guido Batocchioni, Architects

Ca.Se Architecture Atelier (Serena Sorgi and Eng. Caterina Cordoni, Architects)

Marco Musmeci, Engineer

Birger Ltd.

Barbara Sassi, Professional Archaeologist

Anna Borzomati, Professional Restorer

Giulio Ponzo, Architect