Herod the Great was the first king to introduce games and spectacles into the Roman East. His building projects to house these activities were a grandiose expression of the king's desire to maintain ...a positive rapport with Rome and to integrate Roman cultural patterns into his realm — an ambitious agenda that ultimately revolutionized the leisure habits of the indigenous populations in ancient Palestine. This paper discusses theaters and hippo-stadia — buildings for mass entertainment constructed by Herod the Great in Jerusalem, Samaria, and Caesarea, as well as near his palaces in Jerichoand Herodium. It traces the architectural models that Herod used to shape the buildings in his realm and demonstrates that they, like his other monumental projects, were also characterized by creativity, daring, and innovation, exhibiting local yet eclectic features that combined a variety of Greco-Roman traditions.
At the invitation of Professors Nicole Belayche and Arnaud Serandour, I arrived at the EPHE on January 23, 2018 to deliver four conference lectures within the framework of their seminar. The ...conference series, “Cult, Culture, and Intercommunal Relations in Roman and Late Antique Galilee,” was intended to evaluate and assess the intricate relationship between the Jewish community and other socio-religious populations residing in the region, based on the archaeological finds uncovered in Seppho...
Wishing to ingratiate himself with Rome, Herod the Great built theaters, amphitheaters, and hippodromes to bring pagan entertainments of all sorts to Palestine. Zeev Weiss explores how the indigenous ...Jewish and Christian populations responded, as both spectators and performers, to these cultural imports, which left a lasting imprint on the region.
The reign of Herod, the Builder-King, is characterized by large-scale construction that radically changed the face of ancient Palestine. He initiated, planned, and built many structures, including ...those befitting the ceremonious lifestyle of his palaces as well as public edifices for the benefit of the urban inhabitants of his kingdom. Herod's love of Graeco-Roman culture, together with his desire to incorporate his kingdom into the Roman Empire politically, socially, and culturally, led him to establish games and construct buildings for mass entertainment that would house the various types of competitions, races, performances, and shows for the public. By introducing such buildings and holding competitions within the confines of his kingdom, both in the cities and on the grounds of his palaces, Herod revolutionized the cultural leisure patterns in ancient Palestine for many generations to come. A variety of competitions and performances were held for the first time in a festival Herod founded in Jerusalem in honor of the emperor Augustus in 28 BCE. Described in detail by Flavius Josephus, they were conducted in the theater and large amphitheater the king built in the city. Except for several stone seats belonging to a Herodian or Hadrianic theater that once stood in Jerusalem, neither a theater nor an amphitheater has yet been discovered in the city. Opinions vary as to where, if at all, they may have stood. The absence of archaeological evidence places doubt on the credibility of the literary testimony, leaving us in the dark as to whether these structures actually existed. The paper focuses on Flavius Josephus's testimony and attempts to define the shape, nature, and character of the buildings Herod constructed in Jerusalem in light of additional evidence from Herodian Palestine and abroad. Based on an analysis of known Herodian buildings and a comparative reading of Josephus's War and Antiquities, it is argued that Herod's theater and "amphitheater" in Jerusalem, like his other endeavors, were monumentally constructed out of stone, and not of wood, as suggested by some scholars.
Entertaining the Crowds Weiss, Zeev
Public Spectacles in Roman and Late Antique Palestine,
03/2014, Letnik:
21
Book Chapter
Herod the great was the first to establish competitions in ancient Palestine. These events were based largely on Hellenic tradition, which included agonistic contests, competitions in the performing ...arts, and horse and chariot races into which the king also introduced Roman spectacles. Alongside the official festivals and games conducted at regular intervals and according to a fixed program were performances and competitions for pure entertainment held throughout the empire. These included an assortment of scenic performances, chariot races, and amphitheatrical shows conducted on various occasions and intended to amuse the masses.
With the introduction of public entertainment in ancient Palestine,
The Beginning Weiss, Zeev
Public Spectacles in Roman and Late Antique Palestine,
03/2014, Letnik:
21
Book Chapter
The reign of herod, the builder-king, is characterized by large-scale construction that dramatically changed the face of ancient Palestine. Appointed king of Judaea by the Roman Senate, Herod ...initiated, planned, and constructed the buildings in his realm. His edifices were commensurate with the ceremonial lifestyle in his palaces, as were the public buildings he constructed for the inhabitants of many cities in ancient Palestine, some of which he himself had founded. The king’s personal involvement in these projects stemmed from his particular interest in architecture, his strong ambition, and his need to establish a foothold for the royal dynasty at
Adopting a Novelty Weiss, Zeev
Public Spectacles in Roman and Late Antique Palestine,
03/2014, Letnik:
21
Book Chapter
Public spectacles in theaters, hippodromes, and amphitheaters were immensely popular in ancient Palestine, as elsewhere in the Roman East, and attracted large urban populations who attended them ...regularly. At first they were held in only isolated places and few came, but with time they gained popularity among most inhabitants of the ancient Palestinian cities, who viewed these shows with a sense of pride and local patriotism. Dignitaries, ordinary people, women, and slaves streamed to the performances, yet even those who did not frequent the buildings for mass entertainment sensed the festive atmosphere enveloping their city. Noise, excitement, and commotion were
The local population of late antique Palestine had largely assimilated the cultural habits of the empire, including the popular Roman spectacles. The urban authorities were keen to satisfy the ...growing demand of their fellow citizens for such shows and consequently constructed buildings for mass entertainment in their cities. With the conversion of the Roman Empire to Christianity by the fourth century ce, Byzantine society’s attitude toward public entertainment gradually changed, influencing the extent and nature of the shows. The glamour of the Roman competitions under the supervision of gods and Caesars waned, making way for performances now intended for pure
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