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Origin and history

The Gallo-Roman Theatre of Alba-la-Romane is an emblematic building of the Helvian civitas, an ancient capital known as Alba Helviorum. It illustrates the transition between local architectural traditions and Roman influence, with three major phases of construction: around 20 B.C. (irregular form inherited from Greek and Celtic traditions), under Tiberius (15-45 A.D.) (expansion and Romanization), and at the beginning of the 2nd century (c. 120) (final unification with portal and backyard). Its cellara, first mixed (stones below, wood above for Celtic populations), evolves towards a fully masonized structure, reflecting the progressive assimilation of Roman norms.

The theatre is gradually abandoned from the end of the third century, like the entire monumental center of Alba. Rediscovered in 1819-1821, it was searched in 1872 and subsequently restored, notably in 1945 (with the help of German prisoners), 1982 (total release of the cellara), and 2019-2020 (reconstitution of a wooden scene over the stream of Aunas). Ranked a Historic Monument in 1959 and 1986, it is now owned by the Department of the Ardèche and hosts shows, testifying to its original vocation.

Its unique architecture incorporates the stream of Aunas, channeled to cross the building between the cellara and the scene, probably symbolic rather than topographical. The cellar, with a final diameter of 68.40 m, could accommodate up to 3,000 spectators (compared to 6,000 in its first state), with stone stands for the Romanized elites and wooden structures for the natives. The Orchestra, decorated with marble and honorary seats with lion's legs, and the stage wall decorated with Corinthian columns and statue niches, highlight its prestige.

The archaeological site of Alba-la-Romaine, whose theatre is a central element, reveals the Roman urban organization: traffic routes, forum, temple, and portico areas. The excavations brought to light the close links between the theatre and the Bagnols shrine, rebuilt as a masonry in the first century, marking a strong desire for Romanization. The progressive abandonment of the monument coincides with the decline of the city at the dawn of late antiquity.

Today, the restored theatre offers a rare example of Gallo-Roman theatre on stage on stream, combining Celtic heritage and Roman innovations. The last interventions (2019-2020) allowed the restoration of a wooden scene, recalling its original use for public performances, in a setting where worship, politics and entertainment were mixed.

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