Construction of amphitheaters in the province

In the east, the amphitheater had a very weak diffusion. They usually had a scene with an orchestra on the podium. In countries where Greek culture was well established, very few amphitheaters were built. Theaters and stadiums were united to receive both shows.

In the West, where the construction of monuments was achieved at the end of the century until the middle of the century, where it became the most evident sign of the Romantic period, but this period along with urbanization was experienced to different degrees and different aspects.

Characteristics of the Gallo-Roman amphitheaters

One of the most notable aspects is the appearance of rural amphitheaters in Rome's largest western provinces: Gaul, Aquitaine, and Belgium in particular. It is not found in the rural world of Narbon. They are generally associated with cultural places (temples) and as examples are Sceaux-du-Gâtinais, Areines, Montbouy, Triguères, Chevilly and Châteaubleau.[3]​.

Another characteristic of these complex sanctuaries is that they are found in groups of constellations throughout the Gallic towns.[4]​

These rural cultural and cultural sites present anomalies since they need an economic organization and therefore, a sedentary population.[3]​.

Another notable aspect about the amphitheaters of western provinces is the appearance of mixed buildings. The addition of the elliptical arena is not mandatory, but rather the enlargement of the orchestra: the latter is not only larger in diameter, it is also larger than the stage. For this reason, the construction is reduced, but an ellipse is formed.[5]​ We find the same distribution of doors for the actors as in the classical Greek theater, where they open on the orchestra and not on the scene, as in the Roman theater.[4]​ As for the cávea, it takes an arch shape and becomes a semicircle.[5]​.

The major modifications made these theaters hybrid amphitheatres, "amphitheatres-theaters" or "amphitheatre with stage." This is the layout of the arenas of Lutèce, Aquis Segeste), Areines, Montbouy, Triguères, Châteaubleau, and many other Gallo-Roman amphitheaters. The more Rome grows, the more hybrid constructions are made. spectators; and those that do not have a podium and therefore the orchestra is a simple rectilinear wall, very similar to a Greek theater, once again. This last type cannot specifically have fights in shows, and therefore, dances take place, where the circular orchestra is provided. Neuvy-en-Sullias for example), paintings suggest a type of naturist rite that celebrates fertility, a classic theme known to them, and also for its excesses.[4]​ - and, why not, the celebration of the unnameable Gallic divinities and sacred fountains that were generally associated with their theaters-ampitheaters. The hybridization of theaters-amphitheaters was another sign of dissociation between the world. Roman.[3]·.[5]​.

Regarding the cultural dimension, the geographical distribution tells us that these complex rural sanctuaries-theaters existed mainly in rural sectors or communities and were less exposed to large landowners. The sociopolitical conditions helped to see that at some point, these communities became large enough to become villages or small cities, for example, (Argenton-sur-Creuse), Grand "Grand (Vosges)") and Leuque").[6]​ The geographical distribution of rural cultural and cultural centers united them with the concept of civitas.[3]​.

Several hundred amphitheaters can be counted throughout the Roman Empire, in which there are around 60 Gallo-Roman type buildings.[5]​.

Construction of amphitheaters in the province

In the east, the amphitheater had a very weak diffusion. They usually had a scene with an orchestra on the podium. In countries where Greek culture was well established, very few amphitheaters were built. Theaters and stadiums were united to receive both shows.

In the West, where the construction of monuments was achieved at the end of the century until the middle of the century, where it became the most evident sign of the Romantic period, but this period along with urbanization was experienced to different degrees and different aspects.

Characteristics of the Gallo-Roman amphitheaters

One of the most notable aspects is the appearance of rural amphitheaters in Rome's largest western provinces: Gaul, Aquitaine, and Belgium in particular. It is not found in the rural world of Narbon. They are generally associated with cultural places (temples) and as examples are Sceaux-du-Gâtinais, Areines, Montbouy, Triguères, Chevilly and Châteaubleau.[3]​.

Another characteristic of these complex sanctuaries is that they are found in groups of constellations throughout the Gallic towns.[4]​

These rural cultural and cultural sites present anomalies since they need an economic organization and therefore, a sedentary population.[3]​.

Another notable aspect about the amphitheaters of western provinces is the appearance of mixed buildings. The addition of the elliptical arena is not mandatory, but rather the enlargement of the orchestra: the latter is not only larger in diameter, it is also larger than the stage. For this reason, the construction is reduced, but an ellipse is formed.[5]​ We find the same distribution of doors for the actors as in the classical Greek theater, where they open on the orchestra and not on the scene, as in the Roman theater.[4]​ As for the cávea, it takes an arch shape and becomes a semicircle.[5]​.

The major modifications made these theaters hybrid amphitheatres, "amphitheatres-theaters" or "amphitheatre with stage." This is the layout of the arenas of Lutèce, Aquis Segeste), Areines, Montbouy, Triguères, Châteaubleau, and many other Gallo-Roman amphitheaters. The more Rome grows, the more hybrid constructions are made. spectators; and those that do not have a podium and therefore the orchestra is a simple rectilinear wall, very similar to a Greek theater, once again. This last type cannot specifically have fights in shows, and therefore, dances take place, where the circular orchestra is provided. Neuvy-en-Sullias for example), paintings suggest a type of naturist rite that celebrates fertility, a classic theme known to them, and also for its excesses.[4]​ - and, why not, the celebration of the unnameable Gallic divinities and sacred fountains that were generally associated with their theaters-ampitheaters. The hybridization of theaters-amphitheaters was another sign of dissociation between the world. Roman.[3]·.[5]​.

Regarding the cultural dimension, the geographical distribution tells us that these complex rural sanctuaries-theaters existed mainly in rural sectors or communities and were less exposed to large landowners. The sociopolitical conditions helped to see that at some point, these communities became large enough to become villages or small cities, for example, (Argenton-sur-Creuse), Grand "Grand (Vosges)") and Leuque").[6]​ The geographical distribution of rural cultural and cultural centers united them with the concept of civitas.[3]​.

Several hundred amphitheaters can be counted throughout the Roman Empire, in which there are around 60 Gallo-Roman type buildings.[5]​.