Despite the fact that buildings for spectacle constitute one of the most common themes in Roman architecture, nevertheless they are among the least studied in Hadrian's Villa. Because these buildings need an exact definition, that is, typology of form and function, we must thus thoroughly review the question, beginning with new hypotheses supported by a rigorous and appropriate methodology. The conventional designations, frequent in the Villa, refer to the buildings as those for spectacle. Here we want to give better definitions for these buildings through an examination of their specific characteristics. The re-examination of this and other problems specifically tied to these buildings for spectacle, has led to geophysical research and a systematic investigation of the land. The first result of this work was to confirm the location of above-mentioned buildings in the peripheral sectors of the Villa, with an almost polar disposition, evident above all in the N-S sector, situated between the "Teatro Greco" and the "Odeon". An archaeological approach to the theater and the analysis of its context have permitted interesting and innovative observations that seriously question criteria established earlier. For example, scholars have long believed that this was isolated architecture. Thanks to new research, however, the connection and the interaction of the building with those adjoining or nearby begins to be evident. This possibility itself invites new interpretations, with a view to establishing whether the building existed as a single unit within, or as a composite element of, the context. (Pilar León)

The 2004 campaign concentrated on the cavea, the perimeter of the building (the _summa cavea_) and the adjacent portico (_porticus ad scaenam_). The excavation looked at the orchestra space in the cavea, at the meeting point between the orchestra and the _parados_. The cavea did not rest directly upon the ground but on an annular tunnel, partially visible at the two ends, through which access was gained to the interior via two rooms. Of the rows of seats only the core in _opus caementicium_ remains, completely robbed of its marble cladding. The side edge of the rows of seats was formed by a balustrade inserted above the corridor and whose presence seems to confirm that the _paradoi_ were open corridors. It can be deduced that the perimeter was not semicircular but ultra-elliptical, and that the orchestra and seating rows were not perfectly semicircular. The excavation of the _summa cavea_ revealed the presence of a rectangular construction, placed above a crypt at the top of the seating, in correspondence with the monument’s axis. This space was interpreted as the Imperial box, placed in the highest point in order to underline the Emperor’s importance, which combines the religious and imperial functions and seems appropriate for a building conceived, by its nature, to exalt the importance of the Emperor with respect to the rest of the spectators. In the _porticus ad scaenum_, the excavation led to the identification of a double terrace that was part of a terrace system that is largely hidden by modern walls that have been built on top of it. Excavation of the upper terrace revealed a raised portico on pilasters with a pavement in _opus sectile_ with a continuous geometric pattern, the first of its type in the Villa, the edges bordered by rectangles placed at a tangent and rhombi, in pavonazzetto, rosso antico and portasanta marble. The central open space was paved with a mosaic in _opus scutulatum_ of the type already present in the _Antinoeion_. However, the excavation has still not been able to provide a complete understanding of the terrace system, with _exedrae_ and niches containing sculptures described by Ligorio in the 16th century. (MiBAC) The results of the 2005 campaign will be made known in a monograph due to be published in 2006. (MiBAC)

The third campaign of excavation at the Greek theatre concentrated on three areas. The first sector included the central zone of the _cavea_ (trench 12), where the _praecintio_ and its link to a probable _vomitorium_ were situated. The second area coincided with the east-west end of the stage, where trenches 17 and 13 were dug. Trenches 14-16 were opened in the area of the _porticus ad scaenam_. These two trenches were the continuation of trench 6, excavated in 2004. The main aim in trench 12 was to confirm the presence of an axial _vomitorium_ and a _praecinto_ between the first and second _maenianum_. The _vomitorium_ was identified, constituted by a corridor faced with large travertine slabs and with nine steps in the interior. These steps probably led to the annular gallery possibly through a single flight or with a bifurcation of the steps leading off to either side. The excavation identified the link between the _praecintio_ and the end of the _vomitorium_ and, in turn, the link between the latter and the annular gallery. Two trenches were opened in the second area. In the first, trench 13, the eastern end of the scene was excavated. The results, confirmed the symmetry of the closure of the _scenae_ and the repetition of the door connecting it with the interior of the crypt at the opposite end. Trench 17 was placed to the west, exactly at the end of the theatre, delimited by a containing wall that presents a series of semicircular exedra. The aim was to uncover the zones visible in Gusman’s photographs. The excavation, only partially completed, revealed the presence of a wall perpendicular to that of the _postcaenium_ and the possible existence of hydraulic structures. Trenches 14, 15 and 16, opened outside the theatre, aimed to corroborate the presence or absence of the _porticus ad scaenem_, know from the historical sources. The excavations in fact showed that this _porticus_ was not present. Lastly, it was seen that the area had been terraced and a garden area created, all of which done to safeguard the natural changes in level. The terraces were created by a slightly sloping earthwork and there was at least one flight of steps passing from one terrace to another.

This campaign concentrated on opening new areas and continuing those opened in previous years. At the same time, the first pollen analyses and studies of the villa’s architectural and sculptural decoration began, with the aim of reconstructing the natural landscape and garden spaces of the Hadrianic complex. Trench 2 in the south-eastern corner of the orchestra and _ima cavea_ was extended as far the highest part of the seating tiers. The excavation revealed important relationships with the only part of the theatre in which the make up for the tiers is still preserved. The extension of trench 16 involved continuing the excavation of the tufa embankment separating the terraces close to the theatre towards the north terrace. The suggestion that a portico existed on the west side of the theatre having been discarded, the work in this trench documented the spatial layout of this area and confirmed that a _viridarium_ was incorporated into the terrace next to the theatre. The work in trench 17 revealed the existence of a _nymphaeum_ with exedra closing the space between the scene building and the containing wall delimiting the theatre to the east. A channel drained water from the _nymphaeum_ into a drain cut into the tufa. Trench 20 (enlargement of trench 6) aimed to identify the closure of the new portico situated on the upper terrace on the Greek theatre’s west side and to better define the size of the building. The results confirmed that the portico was part of a system of terraced constructions and was of considerable size. New trenches, 18 and 19 were opened. Trench 18 was opened with the intention of completing the documentation of the lower part of the extreme western end of the seating tiers. The excavation recorded the west corner of the tier, the related _parados_, the beginning of the tier and the presence of the _proedria_. There was no evidence for a _proedria_ at the opposite end. Trench 19 aimed to demonstrate the existence of a _porticus postscaenam_. The appearance of structures in the exact point in which it was hoped to find them meant that this was to be one of the focal points of the next season’s excavations.

The 2007 campaign mainly concentrated on two sectors where work had begun in preceding seasons: the area of the _postscaenium_ (extension of trenches 19 and 17, trench 21 and 22) and the area of the theatre’s lateral portico (trench 20), where the historical sources indicate the presence of a _porticus ad scaenam_. As regards the area of the _postascaenium_, two rectangular spaces were identified. The first was directly linked to the back wall of the _postscaenium_, while the second showed no evidence of links to other structures. Trench 21 was opened in order to investigate whether these rectangular structures could have continued in a regular pattern. However, there was no evidence for this. In the eastern sector, between the scenic building and the containing wall with exedras delimiting the Greek theatre, where an interesting _nymphaeum_ with exedra was found in 2006, the water table rises at a higher level. For this, reason excavations continued in this zone as well as in the two main areas. The excavation of the _nymphaeum_ ’s fountain structure was completed together with that of an interesting tunnel behind the niche. The work on the lateral _porticus_ aimed to localise the southern end of the upper portico (trench 20 Sur) and, with the opening of trench 20 North, the identification of the link between the portico with opus sectile floor and the upper portico. The excavations in trench 20 S showed that the building continued to the south. Another large tunnel was found in this area, interpreted as a modern quarry for pozzolana, similar to others found in the surrounding area. The organisation of the terrain towards the east side of the structure was interpreted as the preparation for a _viridarium_. In the second excavation area (Trench 20 north), the excavations identified the closing wall at the southern end of the upper portico. It was also seen that the lower portico paved in _opus sectile_ continued as far as the containing wall.

Initially, this season concentrated on three previously excavated sectors: the area of the _scaena_ (Trench 23), the _postscaenium_ (Trench 19, Trench 19 Sondage 1, Trench 19 Sondage 2, Trench 27) and the space on the western side of the theatre (Trench 24-26 and 28). In the first sector, Trench 23 was extended with the aim of further defining the plan of the _scaena_ in particular the part relating to the _frons scaenae_. Digging started in the south-eastern corner of the scene, and then it was decided to extend this trench as far as the one opened during the first campaign, on the same axis as the building (Trench 1). This excavation confirmed the results from the first campaign regarding the _frons scaenae_, the _valva hospitalia_ and part of the _hyposcaenium_. It was also seen that the spaces to the sides of the _scenae_ were arranged like _parascaenia_ or _basilica_. Excavations continued and were extended in the area of the _postscaenium_. As regards the structure itself, it was seen that the rear façade of the theatre was longer than the width of the building itself. The continuation of this wall was documented in the new trench Corte 27, and was seen to delimit a large open space behind the theatre and the possible continuation of the structures forming the entrance to the zone behind the theatre complex to the west. The excavation also partially exposed the interior of the western basilica. The north zone, inside the first of the rectangular halls next to the theatre (Trench 19 Sondaggio 1), was completely occupied by a limekiln. A dump comprising mainly pottery fragments was uncovered to the south of this hall. This must have been part of an actual dump, as during the construction process of the theatre the hall was used for this function. Later, floors were laid that covered this dump. To the west of the theatre investigations continued into the layout of this sector, which functioned as the theatre’s “vestibule”. Four trenches were dug (24-26 and 28) that revealed the area to be one of the spaces with pavilions present in the villa, similar to other peripheral areas in the complex. In this case, the space was defined by a series of interconnecting pavilions forming a transit area in which architecture was combined with vegetation, water, and probably sculpture, a combination seen throughout the villa.

This campaign concentrated on two areas: the _pulvinar_ (perimeter gallery and the porticus above in the _summa cavea_ ) and the area behind the _postscaenium_. In the area of the _pulvinar_ (sacred couch), the aim was to investigate the ground level of the theatre’s outer perimeter, the configuration of the building’s exterior façade and the covering of the perimeter gallery. Work undertaken in this area led to the reinterpretation of several structures found during previous campaigns, such as that found on the east side of the _pulvinar_ and which may be interpreted as a stairwell leading from the theatre to the _pulvinar_. The recording of the window situated in the building’s perimeter wall was completed, as was that regarding the wall’s upper extremity delimiting the perimeter of the annular gallery and the link between this and the _pulvinar_. The upper part of the communicating room allowing passage through the gallery below was identified in the east side of the _pulvinar_. Evidence from the excavation suggests the gallery passing below the _pulvinar_ had an architraved covering. The excavation behind the _postscaenium_ aimed to verify the existence of a _porticus postscaenam_. The results confirmed that such a structure had never existed in the Greek theatre and consequently that the area behind the theatre was conceived from its origins as an open space with gardens. Directly linked to this idea of the garden was the flowerbed found running parallel to, and at only 35 cm from the _postscaenium_ wall. It contained a row of flowerpots, of which ten were documented, and ran along the entire external façade of the theatre and extended beyond it to the west. The evidence from the various campaigns showed that the rooms along the back of the _postscaenium_ were all modern, as was the floor above the crypt. Therefore, there was no entrance into the theatre from this part of the complex. The archaeological evidence also indicated that at least the base of the stairway linking the crypt with the floor above was part of the original structure. Interesting data was also collected regarding the hydraulic infrastructures in the area. Excavations were also undertaken in diverse points of the large area north of the theatre, where the interventions to create a vast garden area were documented.

This season saw the excavation of the stage building, perimeter gallery and the area immediately outside the building. _STAGE BUILDING_ Excavations in this sector aimed to clarify questions regarding the configuration and functioning of this area. Trench 45 revealed: the alignment of the internal facing of the wall closing the stage building, a side room at the western end, the wall forming the facade of the _frons scaenae_ and a room symmetrical to the one situated at the opposite end. Trench 46 extended trench 17 towards the south where excavations led to: - A more precise definition of the area in front of the exedra with nymphaeum; - Identification of the vestibule floor, delimited by the wall with exedras closing this side of the theatre; - Identification of the ground surface next to the _parados_, and an understanding of the space closing this side of the scene building. As regards the basilica’s interior, what has been recorded thus far reflects what was seen in trenches 17 and 23. Trench 48, opened in the south-eastern corner of the west basilica, confirmed the presence of rooms symmetrical to those documented in trench 46, situated at the opposite end. The next campaign will continue excavations in the zone west of the basilica, where the existence of a room was documented, although the perimeter walls have yet to be uncovered. Trench 47 was opened in order to investigate the system of access and transit in the area between the latrine and vestibule with exedra. This trench also revealed the continuation of the drains noted in trench 46 and the presence of a lime-kiln dating to the period when the structures were robbed. Trench 30 confirmed that the stairway preserved in the crypt, although heavily restored, was part of the original theatre construction. Furthermore, the cleaning of the floor above the crypt showed that no traces of the Hadrianic paving remained. The three overlying floors that are visible are the result of various restorations. _PERIMETER GALLERY AND THEATRE PERIMETER_ Excavations in this area aimed to: - acquire new data regarding the form and functioning of the theatre’s perimeter gallery. - check the existence of a possible communicating structure between the central part of the villa and the area behind the _pulvinar_ of the theatre and clarify the spatial organisation outside the _cavea_. Trench 43 was opened in order to investigate the floor levels both inside and outside the gallery. Trench 44, situated at the western end of the perimeter gallery, documented the construction process and dating of both the perimeter wall and the gallery’s internal wall. Trench 49 was opened behind the _pulvinar_ and showed that the corridor drawn by Piranesi in his two plans of Hadrian’s Villa did not exist. Trenches 31 and 42, opened in order to check the existence of a lateral entrance, showed that there was no corridor here, which had it existed would have been a structure with gardens of which no traces survive.

The ninth excavation season concentrated on the west side of the stage building and the perimeter gallery in the area of the _pulvinar_. _WEST SIDE OF THE SCENE BUILDING_ Trench 48, begun in 2010, was completed and showed the existence of a space (originally covered) abutting the west basilica. Trench 53 documented a razed structure of which only the alignment of the north-east corner of the vestibule, in front of the basilica, was identified. The extension of trench 19 established the dimensions of the room to the north-east of the vestibule and showed that the structure was destroyed by the cut for the piping present in trench 54. Trench 52, at the far western end of the crypt, confirmed the presence of a stairway symmetrical to the one at the other end. There was an interesting stratigraphy in this trench with various abandonment levels, which is exceptional for Hadrian’s Villa. _AREA NEXT TO THE PULVINAR IN THE SUMMA CAVEA_ Excavation in trench 50 revealed the system of communication between the perimeter gallery, the corridor crossing the crypt below the _pulvinar- , and the link with the central _vomitorium_. Trench 31 was extended in order to identify the distance between the windows in this section of the facade, east of the _pulvinar_. Unfortunately, in this zone the perimeter wall was razed to the ground and therefore provided no useful information. _LATRINE VESTIBULE_ Trench 51, situated south of the room linking the space with the exedras and the latrine vestibule, showed the transition between the two adjacent areas, made difficult by the change in level between one area and the other. The latrine’s _cloaca_ was documented together with the construction phases of the piping and the space in which it is situated. _WATER SUPPLY INFRASTRUCTURES WEST OF THE THEATRE_ Lastly, the water galleries east of the nymphaeum, behind the containing wall with the exedras were explored. These structures were shown on the plan by P. A. Paris. The galleries are reached through a vertical shaft, which rain caused to open behind the wall with exedras, and entered through a small opening that was probably a manhole. The galleries are cut into the tufa like those documented behind the nymphaeum and the _postscaenium_, and are linked to a central distribution area by separate arms.

The tenth and final excavation campaign on the Greek theatre of Hadrian’s villa centred on the west side of the stage building (trench 55) and the area immediately to its north. Trench 55 was opened in the western corner of the stage building and substantially extended towards the west of trench 52, opened in 2011. This trench aimed to document, in its entirety, the section of staircase that was partially exposed during the previous season. The excavation revealed two steps and the impression of a third. In the second place, an analysis was made of how this sector communicated with the _crypta_. The symmetry of the construction, typical of the Greek theatre, suggested that the same elements were present on this side as on the eastern side of the _crypta_. For this reason, the modern structure was dismantled and excavation was taken down to the floor level, of which only a few patches of its make up survived. A large amount of pottery and _opus sectile_ fragments were recovered. Another reason for opening this trench was to examine the covering of the _crypta_ in this sector. As on the opposite side, it was seen that in an earlier period the _crypta_ was partially covered by a round vault, which terminated at a pillar that is partially preserved. It is likely, bearing in mind the presence of the staircase mentioned above, that the final part of the _crypta_ was covered by a rampant vault, which sprung in correspondence with the top of the pillar. Only the lowest parts of the flanks of the rampant vault are preserved. Contrary to the other trenches, which once excavated and recorded were back filled, it was decided not to rebuild the covering and wall closing the _crypta_, both of which were modern restorations. As well as being ethically correct, this decision makes it easier for the public to understand the true form of the _postscaenium_ and the way it functioned. Trench 56, situated in the northern sector of the theatre, extended trench 54 opened in 2011. The aim was to expose the system of drains, already partially uncovered during previous seasons, and to define the situation in the south-west zone of the _postscaenium_. A first drain with an “a cappuccina” covering on a north-south alignment was identified. This was connected to a second drain on an east-west alignment, of which only the covering was preserved. As regards the south-western sector of the _postscaenium_, a segment of wall on a north-south alignment was identified. The wall probably delimited the _postscaenium_ area, and it is likely that an access to this area opened in the wall. This is a preliminary interpretation still in the study phase.