The Small Roman Theatre (Mali rimski teatar or Small Roman
Theater) in Pula, Croatia, is one of the city’s most significant
ancient monuments and a prime example of Roman theatrical
architecture adapted to local terrain. Located on the eastern and
northeastern slopes of the central city hill (today’s Kaštel/Capitol
hill), within the ancient city walls near Herculov prolaz, it sits
just below the Kaštel fortress and adjacent to the Archaeological
Museum of Istria.
Unlike Pula’s world-famous Roman Arena
(amphitheater), which hosted gladiatorial combats and large
spectacles, the Small Roman Theatre was purpose-built for dramatic
performances, comedies, tragedies, and other cultural events typical
of Roman public entertainment. It formed part of a trio of major
entertainment venues in ancient Pula (Colonia Pietas Iulia): the
Small Theatre inside the walls, the now-lost Large Roman Theatre
outside the walls on the slopes of Monte Zara, and the massive
Arena.
Construction and Roman-Era Design (Late 1st Century BC)
The
theatre was erected in the early Augustan period, specifically the third
quarter of the 1st century BC (roughly 25–1 BC), during the monumental
building boom that transformed Pula into a prosperous Roman colony.
It was deliberately sited on the natural eastern hillside slope below
the ancient castrum (military fortress) for acoustic and structural
advantages—a design choice more typical of Greek theatres than the
free-standing Roman ones. Builders carved the lower sections into the
bedrock and used the incline for the tiered seating (cavea).
Key
architectural features included:
A semicircular orchestra (central
performance area).
A richly decorated scena (stage building) and
proscenium (front stage) adorned with pilasters, columns, architraves,
arches, possible sculptures, and geometric/floral motifs.
Tiered
cavea (seating) rising up the hill.
Materials: Local Istrian
limestone for the core structure; lower walls clad in marble; upper
sections plastered and likely frescoed for visual appeal. The exterior
was relatively plain.
Access was via preserved ancient entrances,
including paths linked to the nearby Twin Gates (Dvojna vrata).
Estimates place its original capacity at 4,000–5,000 spectators—roughly
the entire population of Roman Pula at the time—making it a central
civic venue.
Pula's two theatres and amphitheatre reflected the
colony's high level of Romanization and cultural life under emperors
like Augustus. While the Arena hosted fights and spectacles, the Small
Theatre (and its larger counterpart outside the walls) catered to
literary and performative arts.
Post-Roman Decline and Medieval
to Early Modern Periods
After the fall of the Western Roman Empire,
the theatre fell out of use and gradually became buried under later
layers of the city. Large sections of its stonework were quarried and
repurposed for new construction—a common fate for Roman ruins.
Much
of the material from both Pula theatres (especially the Large Theatre)
was incorporated into the 17th-century Venetian Fortress (Kaštel), built
by French military engineer Antoine De Ville. By the medieval period,
the structure was largely dismantled and forgotten, with only
foundations, the lower cavea, orchestra, and traces of the stage
surviving.
Rediscovery and 20th-Century Archaeology
The site
remained largely invisible until archaeological interest in the late
19th and early 20th centuries. In 1911, conservator and archaeologist
Anton Gnirs correctly identified the remains as a theatre (it had
previously been mistaken for an approach to the Capitol). Multiple
excavations and conservation efforts followed throughout the 20th
century, gradually revealing the layout.
Decorative fragments from
the theatre (reliefs, etc.) are now housed in the nearby Archaeological
Museum of Istria, whose building sits partially over the theatre's
former extended footprint. Further digs in recent decades have shown the
original theatre complex was larger than the visible area today,
extending toward the museum grounds.
Modern Revival and
Restoration (20th–21st Centuries)
In the later 20th century, the
ruins occasionally served as a summer open-air stage for events tied to
Pula's ancient heritage. However, structural instability led to closure
for about two decades in the early 21st century.
A major conservation
and reconstruction project, led by the Archaeological Museum of Istria
(architect Emil Jurcan and team) and co-financed by the EU Regional
Development Fund, ran from 2020–2022 (total value ~HRK 17.85 million).
It was completed in early 2022 and officially reopened on 5 May 2023.
The approach used a striking "contrast method": modern steel and white
concrete seating structures were built without touching or endangering
the ancient Roman remains. The new seating follows the original cavea
layout and Vitruvius's ancient architectural principles (1:2 stair
proportions for optimal acoustics). A large ~330 m² screen was mounted
on the rear facade of the Archaeological Museum, creating a dynamic
indoor-outdoor cultural space. The project restored the cavea to near
its original height and proportions while minimizing new excavations.
Today, the theatre seats around 1,250 people (a practical modern
capacity) and hosts concerts, theatre performances, festivals (e.g.,
Pula Summer of Culture), and events blending ancient ruins with
contemporary arts.
Significance and Visiting Today
The Small
Roman Theatre offers a more intimate glimpse into everyday Roman
cultural life than the monumental Arena. Its hillside setting, preserved
acoustics, and thoughtful modern revival make it a living monument—one
of Croatia's finest examples of heritage conservation.
It is located
at Herculov prolaz 1 (or Carrarina Ulica area), a short uphill walk from
the Forum and old town center, near the Archaeological Museum and
Kaštel. Admission is typically charged for the site (or events); it is
pedestrian-accessible and free to view the exterior ruins in many cases.
The Small Roman Theater (Mali rimski teatar or Small Roman Theatre)
in Pula, Croatia, stands as a well-preserved example of Roman theatrical
architecture from the Augustan period. Built in the third quarter of the
1st century BC (or early 1st century AD per some accounts), it served
cultural and public performances within the city walls of ancient Pula
(Colonia Pietas Iulia). Unlike the city's much larger Pula Arena (an
amphitheater for spectacles), this was a dedicated theater for drama,
concerts, and events, located on the eastern/northeastern slopes of the
central city hill below the Kaštel fortress.
Overall Design and
Site Integration
The theater follows the classic Roman theater plan
(inspired by but distinct from Greek models), with a semicircular layout
adapted to the natural topography. Key to its design is the integration
with the hillside: the auditorium (cavea) is partially carved directly
into the live rock of the slope, a Hellenistic/Greek influence that
minimized construction while providing natural elevation and stability.
The flat lower section housed the performance areas. This slope-based
siting (common in early Roman theaters in the provinces) created
excellent acoustics and sightlines without needing massive artificial
substructures, unlike freestanding urban theaters in Rome itself.
The
structure was modest in exterior decoration—likely plain and
functional—to emphasize the interior experience. In its prime, it formed
part of Pula's urban entertainment complex (alongside the now-lost
larger theater outside the walls on Monte Zaro hill).
Core
Architectural Elements
Roman theaters like this one were divided into
three primary zones, following principles later codified by Vitruvius in
De Architectura (1st century BC):
Cavea (Auditorium/Seating
Area):
The semicircular, tiered seating rose in rows up the slope. It
was divided into lower and upper sections (ima and summa cavea), with a
possible praecinctio (horizontal walkway) separating tiers for
circulation. The lower cavea was carved into bedrock for stability;
upper sections used built-up masonry. Stairs and vomitoria
(entrance/exit passageways) radiated outward. Original proportions
strictly followed Vitruvius' guidelines, including a 1:2 height-to-depth
ratio for the steps (risers and treads) to ensure comfort and safety.
Six original entrance/exit points facilitated efficient crowd flow.
Capacity estimates vary across sources (due to incomplete remains):
between approximately 1,000 and 5,000 spectators originally, making it
suitable for much of the city's population.
Orchestra:
The
semicircular, flat performance floor at the base of the cavea (in front
of the stage). In Roman theaters, this space was often reserved for
elite seating or auxiliary performances (smaller than in Greek designs,
where it was central to the chorus). It was paved and integrated with
the stage.
Scaena / Scaenae Frons (Stage Building) and Proscenium
(Stage):
The most ornate section, facing the audience across the
orchestra. The raised wooden or stone stage (proscenium) sat in front of
the elaborate scaenae frons—a multi-story backdrop wall with niches,
pilasters, columns, architraves, and arches. This created a theatrical
"frame" for actors. Decorative elements included possible statues in
niches and rich carving. The stage building's lower sections used marble
cladding; upper levels featured plaster with painted frescoes. Capitals
and architraves bore geometric and floral motifs, showcasing Roman
decorative craftsmanship. The exterior of the scaena was simpler,
blending into the urban fabric.
No exact overall dimensions
(e.g., cavea radius or orchestra diameter) are widely published from
excavations, but the compact scale relative to the arena reflects its
role as an intimate urban venue.
Materials and Construction
Techniques
Primary material: Local Istrian limestone (abundant and
durable, quarried nearby), used for core walls, foundations, and
structural elements. This limestone weathers to a characteristic pale
tone seen in Pula's other Roman monuments.
Finishes: Lower walls and
stage elements clad in imported or local marble for prestige and
durability. Upper walls plastered and painted (likely frescoed with
vibrant scenes or architectural illusions, typical of Roman interiors).
Engineering: Rock-cut cavea reduced material needs and enhanced
acoustics. The design leveraged the slope for natural drainage and
stability. Vaulting or arches may have supported upper cavea sections or
entrances, though remains emphasize the tiered seating and stage
foundations.
The theater demonstrates Roman pragmatism: adapting
Greek forms to local terrain while incorporating advanced masonry and
decorative orders (likely Corinthian or composite on the scaena frons).
Historical Use, Decline, and Modern Reconstruction
After the fall
of the Western Roman Empire, the theater fell into disuse, was buried
under later strata, and was misidentified until excavations in the late
19th/early 20th centuries (formally recognized as a theater in 1911 by
archaeologist Anton Gnirs). Only foundations of the stage, parts of the
orchestra, and sections of the cavea survived.
In 2021–2022, a major
reconstruction (led by architect Emil Jurcan, with photography by Bas
Princen) revived it as a performance venue using a deliberate contrast
method. New seating employs:
Steel grid structures (grille-like,
cantilevered where possible to minimize archaeological impact) for the
upper and side tiers.
White concrete poured directly onto cleaned
bedrock for the central cavea (no support structure underneath).
The new elements hover above or beside Roman remains without touching
them, preserving authenticity. Stairs maintain the original 1:2
Vitruvius proportions, and seating avoids bolts/nuts to protect
acoustics. This yields a current capacity of about 1,250 spectators. Six
antique entrances were revived for circulation. A large screen (330 m²)
on the adjacent Archaeological Museum of Istria's facade enables hybrid
events.
The result is a striking architectural dialogue between
ancient limestone ruins and sleek modern steel/concrete, earning awards
like recognition at Piran Days of Architecture. It now hosts concerts,
theater, and performances, forming a monumental complex with the Pula
Arena.
Excavations of the site have been partial, revealing the stage foundations and segments of the cavea but leaving much of the ancient extent unexplored due to urban development and incomplete archaeological campaigns. The visible remains were integrated into the city's fabric over time, but by the early 21st century, the theatre had deteriorated, with issues like graffiti and broken glass reported in some accounts. Preservation efforts gained momentum through collaboration with the Archaeological Museum of Istria, which oversees the site and provides additional resources for research. For visitors, contact details include the museum's phone (+385 (0)52 351 300) and email (info@ami-pula.hr), offering guided insights into ongoing studies.
In a major revitalization project completed around 2023, the Small
Roman Theatre underwent extensive renovation after nearly two decades of
disuse. The effort, costing over €3 million, was funded by the Croatian
Ministry of Culture and Media (€1.6 million), EU funds (€1.1 million),
and the Archaeological Museum of Istria. Constructed by the firm
ING-GRAD, the project focused on conservation while adding modern
elements like steel and white concrete structures that do not compromise
the ancient ruins. Key updates include:
Raised seating stands for
approximately 1,250 to 1,700 people, assembled without nuts or bolts to
preserve optimal acoustics.
Stairs designed in a 1:2 ratio, inspired
by Vitruvius' ancient architectural treatise.
Six entrances and exits
for efficient visitor movement.
A 330 square meter screen on the back
facade of the adjacent museum, enabling multimedia enhancements for
events.
The renovation earned special recognition at the Piran
Days of Architecture and a nomination for the Bernardo Bernardi award,
praising its sustainable integration of heritage with contemporary
needs. It reopened with events like concerts, with security protocols
limiting capacity to around 1,550 for safety. Now, it hosts performing
arts, cultural festivals, and tours, forming a unique complex with the
nearby Pula Arena, renowned for its monumental value and acoustic
excellence.
The Small Roman Theatre stands as a testament to Roman engineering and cultural priorities, contributing to Pula's status as a UNESCO-recognized hub of ancient history (though not formally listed, its ties to the Arena amplify this). It attracts historians, architects, and tourists interested in experiencing a living piece of antiquity adapted for the present. For visitors, the site is open year-round, often included in self-guided tours of Pula's old town. Entry may be free or tied to museum tickets; check the Archaeological Museum's website (www.ami-pula.hr) for current details. Its tucked-away location offers a quieter alternative to busier sites, though some reports note occasional urban wear like graffiti—issues addressed in the renovation. Overall, it encapsulates the enduring legacy of Roman urban planning in a modern European context.