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Petra - Main Theater

Petra Main Theater Aerial View of Petra Main Theater

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Bernard Gagnon - Wikipedia - CC BY-SA 3.0


Names
Transliterated Name Source Name
Main Theater English
Petra Theater English
Masrah al-Batra Arabic مسرح البتراء
Introduction
Introduction

As one enters Petra through the Siq, after passing the Treasury, the Main Theater is the first monumental structure encountered before reaching the central valley of the city. Carved directly into the living rock, the theater occupies a strategic and highly visible position within Petra’s urban topography, marking a transition from the processional approach of the Siq to the civic and ceremonial heart of the city.

The seating of the theater was cut from cliffs of Nubian Sandstone, reflecting the Nabataean integration of monumental architecture with the natural landscape. Excavations conducted over two seasons in 1961 and 1962 by Hammond (1964) established the basic architectural form and chronology of the theater and confirmed its role as a central venue for public and cultural activity in ancient Petra.

Ancient Theater Glossary

Textual Glossary



Illustrations of Individual Components mentioned as damaged in the Phase IV Earthquake

Scaenae



Scaenae Stories (aka Scaenae Frons)



Blockade Walls (aka analemmata)



Tribunalia(e)



Petra - Introduction Webpage

Aerial Views, Plans, Sections, and 3D Imagery
Aerial Views, Plans, Sections, and 3D Imagery

Aerial Views

  • Petra Main Theater in Google Earth
    Petra Main Theater in Google Earth

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  • Aerial View of Petra Main Theater
    Aerial View of Petra Main Theater

    click on image to open a high res magnifiable image in a new tab

    Bernard Gagnon - Wikipedia - CC BY-SA 3.0
    from Wikipedia
  • Frontal View of Petra Main Theater
    Frontal View of Petra Main Theater

    Douglas Perkins - Wikipedia - CC-2.0
    from Wikipedia

Plans

Normal Size

  • Pl. 90 - Plan of the Main Theatre
    Pl. 90

    The Main Theatre - General Plan

    McKenzie (1990)
    from McKenzie (1990)
  • Top View of the Main Theater
    Ampitheatre - Top view

    Zamani Project
    from Zamani Project
  • Fig. 14 - Plan of theater
    Fig. 14

    General plan of the theater (2022)

    (Ambroise Berthier)

    Tholbecq et al. (2022)
    from Tholbecq et al. (2022)
  • Fig. 1 - Plan of theater
    Fig. 1

    General plan of the Petra theater, with the location of the 2022-2023 surveys

    (Report and DAO A. Berthier 2022, supplements M. Kurdy 2023, MAFP)

    Tholbecq et. al. (2023)
    from Tholbecq et. al. (2023)

Magnified

  • Pl. 90 - Plan of the Main Theatre
    Pl. 90

    The Main Theatre - General Plan

    McKenzie (1990)
    from McKenzie (1990)
  • Top View of the Main Theater
    Ampitheatre - Top view

    Zamani Project
    from Zamani Project
  • Fig. 14 - Plan of theater
    Fig. 14

    General plan of the theater (2022)

    (Ambroise Berthier)

    Tholbecq et al. (2022)
    from Tholbecq et al. (2022)
  • Fig. 1 - Plan of theater
    Fig. 1

    General plan of the Petra theater, with the location of the 2022-2023 surveys

    (Report and DAO A. Berthier 2022, supplements M. Kurdy 2023, MAFP)

    Tholbecq et. al. (2023)
    from Tholbecq et. al. (2023)

Sections

  • Fig. 5.35d - Section of the
    Fig. 5.35d

    Section elevation, showing the original slope and the line of cut.

    (after Hammond 1965: Pl. XVI).

    Rababeh (2005)
    Main Theatre from Rababeh (2005)

Links to 3D Images

3D image of Petra Main Theater from Zamani Project - click link to open in a new tab

3D panorama tour of Petra Main Theater from Zamani Project - click link to open in a new tab

Archaeoseismic Chronology
Phasing

Hammond (1964)

Phase Period Date Description
I Main Use the period of actual use of the installation and area as a place of public amusement and public meeting
II Early Re-Use this period has two subdivisions, (a) / (b), and is characterized by a triple faced battered limited robbery wall over the lower part of the ima cavea, and the cutting of an intrusive drain into the stage pavement.
III Disuse this period also has two subdivisions, (a) / (b), both of which precede the fall of the Theater. The two divisions are sharply differentiated by the presence of ceramically sterile levels at the bottom of the phase.
IV Main Destruction in this period the scaena and its stories, blockade walls, the tribunalia (e) , and other built parts of the Theater were all cataclysmically destroyed. The careful isolation of this phase in 1961 made it possible to secure accurate information concerning the orders, makeup, and architectural details of the episcenium, as well as data of considerable importance in relation to construction techniques and features.
V 1st Post-fall Period of Disuse this period is characterized by alternating levels of wind-drift, wadi-washed debris, covering the fall level of the destruction. The period represents an accumulation laid down over a fairly long period. The complexion of this cover material is significant, chronologically, and has implications relevant to the destruction levels of other monuments on the site.
VI 1st Post-fall Period of Re-use this period, with two sub-divisions, (a) / (b) , is characterized by two distinct robbery building phases, sealing off the stage area, and its extension beyond the versurae, for some temporary and obscure use. The main rebuild wall extended across, and perpendicular to, the fine of the diameter of the orchestra, abutting the cliffs at the northern end of the complex. The scaena-postscenium, exits appear to have been systematically blocked during this phase.
VII 2nd Post-fall Period of Re-use this period was subsequent to the wall-building phase, and seems to represent only casual occupation of the area, as evidenced by the ceramic materials and floor levels.
VIII 2nd Post-fall Period of Disuse the levels of this phase represent the accumulation of occupational debris to modern surface level.

Tholbecq et al. (2022)

  • from Tholbecq (2022)
  • Hammond has, however, identified eight phases of occupation which, in our opinion, can be reduced to four major periods
Phase Date Comments
1
  • At least two construction phases (Hammond phases Ia, Ib and Ic) followed by two phases of use of the building (II-III)
2 probably in 363 and/or 419 CE
  • Major destruction, probably in 363 and/or 419, followed by abandonment (IV-V)
3
  • Partial reuse of space, probably during the Byzantine era (VI-VII)
4 mid 8th century CE ?
  • Final destruction, probably in the middle of the 8th century (Hammond phase VIII)

Tholbecq (2024) - REVISED CHRONOLOGY

two phases have been securely identified, one dating from the turn of the 1st/2nd centuries AD, and a second corresponding to a major transformation of the stage building that occurred between the second half of the 2nd and the first half of the 3rd century. As the more recent levels of occupation were removed in 1961–1962, insights come from the pictures and drawings published in 1965 (Hammond 1965). The latest published material can be dated securely to the first half of the 5th century AD, indicating that the building was certainly reoccupied after the AD 363 earthquake. Unfortunately, all the archaeological material collected during these two rescue campaigns was destroyed in December 2023 by an arson attack that destroyed all the excavation material accumulated by the French and Belgian teams working in Petra over the last thirty years.

Phase IV Earthquake - mid-4th century CE

Discussion

Discussion

References
Hammond (1964)

Chat GPT Summary of Archaeoseismic Evidence

The Main Theater at Petra exhibits multiple phases of reuse, collapse, and post-collapse occupation. The clearest seismic destruction phase is identified as the "Main Destruction Period" (Period IV), during which "the scaena and its stories, blockade walls, the tribunalia(e), and other built parts of the Theater were all cataclysmically destroyed." This language strongly supports the attribution of this phase to a major seismic event, though no specific date is assigned in Hammond (1964). However, architectural collapse, stratigraphic isolation of destruction debris, and subsequent post-collapse sedimentation lend weight to the interpretation as earthquake damage.

Following this destruction, a "First Post-fall Period of Disuse" is marked by alternating layers of windblown and water-washed debris, suggesting abandonment and environmental infill after the collapse. A subsequent "First Post-fall Period of Re-use" is identified through two robbery-phase construction efforts, including a rebuild wall sealing the stage area and systematic blockage of exit routes, likely indicating short-term repurposing. Later reuse (Second Post-fall Period of Re-use) appears limited to casual occupation. Hammond notes no later destruction episodes with similar seismic implications.

Though Hammond does not explicitly link the destruction to a named earthquake, the scale and language of collapse—particularly the use of "cataclysmically destroyed"—align with seismic damage signatures seen in other Petra monuments. Based on regional parallels and other reports from Petra (e.g., Russell 1980; Hammond 1965), this event likely corresponds to the 363 CE Cyril Quake, though Hammond defers firm chronological attribution pending final analysis.

Hammond (1962)

Chat GPT Summary of Archaeoseismic Evidence

The excavation of the Main Theater at Petra revealed an eight-phase sequence, including one catastrophic destruction phase interpreted as seismic. This "main destruction" occurred after a long period of abandonment, during which layers of windblown and water-laid sediment accumulated. Hammond describes the event as the result of "some vast natural cataclysm" that struck the valley and violently shook the theater "back and forth to its bedrock foundations." The masonry-built scaena collapsed, its columns toppled "in marshaled rows," sculpted blocks shattered, and the backdrop's architectural plan was "buried beneath tons of hewn and polished debris."

This destruction, although undated within the article, is clearly seismic in character based on the vivid description of sudden, massive, directional collapse. Unlike later periods of casual reuse, this phase is sharply defined stratigraphically and marks a major discontinuity in the history of the theater.

No additional destruction events are reported in this article. Later phases are defined by non-structural reuse (e.g., robbing and pen-building), casual visitation, and sediment accumulation. Hammond does not link the collapse to a known historical earthquake, but based on the scale of damage and regional correlation, it may plausibly correspond to the 363 CE Cyril Quake, though no firm conclusion is offered in this preliminary report.

Tholbecq & Paridaens (2024)

Chat GPT Summary of Archaeoseismic Evidence

The most recent fieldwork at the Main Theater of Petra, conducted in 2022 and 2023 by the Université libre de Bruxelles and Ifpo/Amman, confirmed that the structure was reoccupied after the 363 CE Cyril Quake. Although the upper layers were removed during Hammond’s 1961–1962 excavation, documentation published in 1965 allowed researchers to securely date the latest use of the theater to the first half of the 5th century CE, indicating post-seismic reoccupation. This provides stratigraphic confirmation that the earthquake did not permanently end activity in the theater.

No direct seismic destruction layer is identified in this report, but the chronology reinforces the interpretation from earlier excavations that associate a major collapse phase with the 363 CE event. The 2024 study does not contradict this attribution and instead supports a later phase of architectural reuse following seismic damage.

Unfortunately, all archaeological material from the campaigns was lost in a December 2023 arson fire, preventing further analysis of collected finds. However, finds recovered during the foundation probe included reworked ceramic material and bone fragments from a Nabataean necropolis likely destroyed during theater construction in the late 1st century BCE or early 1st century CE. These remains are not seismic in origin but highlight an earlier destruction episode predating the earthquake sequence.

Tholbecq (2022)

Chat GPT Summary of Archaeoseismic Evidence

Archaeological investigations by the French mission in 2021 revealed continued evidence that the Main Theater of Petra was reused after its mid-4th century CE destruction, commonly attributed to the 363 CE Cyril Quake. Though the 2022 article does not directly excavate the destruction layer, it accepts the conclusions of prior research (especially the reconstruction of Hammond’s 1961–62 stratigraphy) that a violent seismic collapse occurred in the late 4th century.

The 2021 campaign focused on a soundings trench in front of the theater's stage building. Below a Roman-period occupation layer, researchers identified residual fill that included Nabataean and early Roman ceramics, fragments of bone, and debris from an earlier funerary context (associated with tombs visible beneath the cavea). This material was likely displaced when the theater was originally built, and is unrelated to the later destruction phase.

No new seismic destruction phase is presented in this article. Instead, the team’s work confirms that the theater was reused and modified after the earthquake, aligning with the established interpretation that the structure continued to serve secondary functions into the 5th century CE.

Jones (2021)

Chat GPT Summary of Archaeoseismic Evidence

  • from Chat GPT 4o, 6 July 2025
  • from Jones (2021)
  • Phase numbers in this GPT summary are incorrect
Jones (2021) identifies two potential seismic destruction events affecting the Main Theater at Petra. The first is assigned to Phase VI, tentatively linked to the well-known 363 CE Cyril Quake. Jones describes significant damage, including collapse and abandonment, but notes that the evidence remains difficult to isolate stratigraphically from other activity layers.

A second destruction episode is reported for Phase VII. While Jones acknowledges the theater had already gone out of formal use by this time, he states that its destruction “may be the result of either the late 6th century earthquake or the mid-8th century earthquake.” The interpretation is limited by the absence of precise stratigraphic dating, but the possibility of later seismic collapse is supported by material disturbance and architectural disintegration patterns consistent with earthquake damage.

Both destruction phases are framed as seismic possibilities, though neither is conclusively demonstrated. Instead, Jones presents them as reasonable hypotheses based on a synthesis of stratigraphy, historical records, and architectural collapse. The report supports the broader interpretation that the Main Theater suffered multiple earthquake-related disruptions, beginning in the mid-4th century and potentially recurring into the Byzantine or early Islamic periods.

Phase VIII Destruction - 6th-8th century CE

Discussion

Discussion

References
Jones (2021)

Chat GPT Summary of Archaeoseismic Evidence

  • from Chat GPT 4o, 6 July 2025
  • from Jones (2021)
  • Phase numbers in this GPT summary are incorrect
Jones (2021) identifies two potential seismic destruction events affecting the Main Theater at Petra. The first is assigned to Phase VI, tentatively linked to the well-known 363 CE Cyril Quake. Jones describes significant damage, including collapse and abandonment, but notes that the evidence remains difficult to isolate stratigraphically from other activity layers.

A second destruction episode is reported for Phase VII. While Jones acknowledges the theater had already gone out of formal use by this time, he states that its destruction “may be the result of either the late 6th century earthquake or the mid-8th century earthquake.” The interpretation is limited by the absence of precise stratigraphic dating, but the possibility of later seismic collapse is supported by material disturbance and architectural disintegration patterns consistent with earthquake damage.

Both destruction phases are framed as seismic possibilities, though neither is conclusively demonstrated. Instead, Jones presents them as reasonable hypotheses based on a synthesis of stratigraphy, historical records, and architectural collapse. The report supports the broader interpretation that the Main Theater suffered multiple earthquake-related disruptions, beginning in the mid-4th century and potentially recurring into the Byzantine or early Islamic periods.

Archaeoseismic Effects
Phase IV Earthquake - mid-4th century CE

Effect Location Image(s) Description
Collapsed Walls           Main Theater

Archaeoseismic Deformation Maps
Phase IV Earthquake - mid-4th century CE

Deformation Map

modified by JW from Plate 90 of McKenzie (1990)

Archaeoseismic Intensity Estimates
Phase IV Earthquake - mid-4th century CE

Effect Location Image(s) Description Intensity
Collapsed Walls           Main Theater VIII +
The archeoseismic evidence requires a minimum Intensity of VIII (8) when using the Earthquake Archeological Effects chart of Rodríguez-Pascua et al (2013: 221-224).

Notes and Further Reading
References

Articles and Books

Hammond, P. C. (1962). "Petra: The Excavation of the Main Theater." The American Scholar 32(1): 93-106.

Hammond, P. C. (1964). The Excavation of the Main Theater at Petra, 1961-1962, Bernard Quaritch, for Colt Archaeological Institute.

Hammond, P. C. (1996:7). The Temple of the Winged Lions, Petra, Jordan, 1973-1990, Petra Pub.

Hammond, P.C. (1964) The Excavation of the Main Theater At Petra, 1961-1962 Annual of the Department of Antiquities of Jordan 08/9

Jones, C. P. (2021) The southern Levantine earthquake of 418/419 AD and the archaeology of Byzantine Petra, Levant 53(1): 1–16

Paradise, T. (1999) Analysis of Sandstone Weathering of the Roman Theater in Petra, Jordan Annual of the Department of Antiquities of Jordan 43

Tholbecq, L. (2022) Mission archéologique française à Pétra (Jordanie). Rapport des campagnes archéologiques 2022

Tholbecq, T. (2024) Petra: Main theater , in Pearce Paul Creasman, Jack Green and China P. Shelton (Eds.), Archaeology in Jordan 4, 2022-2023 Seasons, p. 136-137

Tholbecq, L. & Paridaens, J. (2024) The Petra Theater (2022–2023): New Investigations and New Perspectives, ACOR Annual of Interdisciplinary Jordanian Studies 4: 211–232

Excavation Reports

Hammond, P. C. (1965). The Excavation of the Main Theater at Petra, 1961-1962: Final Report. London, Quaritch.

Tholbecq, L., et al. (2022). Mission archéologique française à Pétra. Rapport des campagnes archéologiques 2022.

Tholbecq, L., et al. (2023). Mission archéologique française à Pétra. Rapport des campagnes archéologiques 2023.

Websites

Ancient Theater Glossary at whitman.edu

Petra Main Theater at Manar al-Athar (Oxford University)

Petra Main Theater at Archnet

Wikipedia pages

Petra (Main) Theater



Nubian Sandstone