buildings
Article
The Acoustics of the Benevento Roman Theatre
Silvana Sukaj 1 , Giuseppe Ciaburro 2 , Gino Iannace 2 , Ilaria Lombardi 3 and Amelia Trematerra 2, *






Citation: Sukaj, S.; Ciaburro, G.;
Iannace, G.; Lombardi, I.; Trematerra,
A. The Acoustics of the Benevento
Roman Theatre. Buildings 2021, 11,
212. https://doi.org/10.3390/
buildings11050212
Received: 9 March 2021
Accepted: 16 May 2021
Published: 19 May 2021
Publisher’s Note: MDPI stays neutral
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iations.
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This article is an open access article
distributed under the terms and
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Attribution (CC BY) license (https://
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4.0/).
Buildings 2021, 11, 212. https://doi.org/10.3390/buildings11050212
1 Department of Engineering and Architecture, European University of Tirana (UET), 1023 Tirana, Albania;
silvana.sukaj@uet.edu.al
2 Department of Architecture and Industrial Design, Università degli Studi della Campania Luigi Vanivitelli,
81031 Aversa, Italy; giuseppe.ciaburro@unicampania.it (G.C.); gino.iannace@unicampania.it (G.I.)
3 Department of Engineering, Università degli Studi della Campania Luigi Vanivitelli, 81031 Aversa, Italy;
ilaria.lombardi@unicampania.it
* Correspondence: liatrematerra@libero.it
Abstract: During the Imperial Roman period, thousands of theatres were built. The theatres have
three principal elements: the scene building (actor position), the orchestra and the cavea (spectator
seating). The theatres were built without a roof, so they were open-air spaces. The theatres were
abandoned afterward the barbarian invasions, and during the Middle Ages, homes were built inside
the cavea. The theatres were rediscovered during the Renaissance period. Today, ancient theatres
are the center of cultural events and are used for various kinds of shows. This work discussed the
acoustics of the Roman theatre of Benevento, which was built during the Imperial Age. The theatre
was destroyed after the barbaric invasion and it was rebuilt in the first half of the 1900s. The theatre
was opened in 1957, and today it is the center of social and cultural activities. Acoustic measurements
were carried out according to ISO 3382 standard, placing an omnidirectional sound source on the
scene building and in the orchestra, with the measurement microphones along three directions in the
cavea. The acoustic characteristics in various seating areas of the cavea were evaluated. Therefore,
it possible to understand in which sectors of the theatre the acoustic characteristics are optimal for
different types of theatrical performances.
Keywords: scene building; cavea; orchestra; Roman theatre; acoustic measurements; reverberation
time; ISO 3382
1. Introduction
During the Imperial Roman period, thousands of theatres were built [1–3]. The theatres
were built to entertain people and create venues for shows [4]. The theatre represented
the symbol of the greatness of the city, and it was used for political meetings, satirical
representations and comedies [5,6]. The best-preserved theatres are in Italy, Spain, France,
Turkey and Jordan. The first theatres were built in Greece, with the cavea resting on the
slope of a hill. At first, the cavea had linear steps, however later, the cavea was built with
a concentric stepped structure to improve the vision and to allow a more optimal sound
distribution, and the legend of the good acoustics of the Greek theatres was born. The
principal elements of the ancient theatre are scene building, orchestra and cavea, as shown
in Figure 1. The architect Vitruvius (1st century B.C.), in the tract called “De Architectura,”
described the geometrical theatres’ characteristics. In the 5th book, the fundamental
principles for achieving correct vision and for listening to the theatrical performances are
introduced. There are a few simple rules to follow to obtain good acoustics inside theatres,
for example, the edges of each step should be in a straight line from the first to the last seat
to prevent the sound from finding obstacles during the propagation [7,8]. In this paper,
the acoustic characteristics of the Roman theatre of Benevento, in its current state, are
discussed. Benevento (South of Italy) was an important city during the Roman period, and
the theatre was built in the second century A.D. The orchestra measured 20 m diameter,
the cavea measured 90 m diameter, while scene building measured a width of 44 m, with
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orchestra measured 20 m diameter, the cavea measured 90 m diameter, while scene

building measured a width of 44 m, with 25 arcades on three levels [9]. The scene building
(pitarcades
25 stage) on
hadthree
threelevels
open[9].
doors,
The and
sceneit building
was made (pitup of two
stage) hadorders
three of columns
open doors, with
and ita
was made up of two orders of columns with a sloped wooden roof. The height of the to
sloped wooden roof. The height of the stage was 1.5 m, so the spectators are able see
stage
the actors on the scene building.
was 1.5 m, so the spectators are able to see the actors on the scene building.

Figure 1.
Figure 1. Theatre principal elements.
Theatre principal elements.

The scene building was the place where the actors performed performed and and it contains
contains thethe stage
stage
machines used to give give movement
movement to to the
the theatrical
theatrical representation.
representation. The cavea (the area area
where spectators sit) could contain over 10,000 spectators. To To hold
hold the greatest
greatest number
number of of
spectators, the cavea was divided in two elements: a lower part (ima cavea) and a higher
part (summa cavea), divided by a walkway walkway (diazoma)
(diazoma) that allowed
allowed spectators to easily easily
reach their seat.
The theatre was damaged by an earthquake earthquake in the year 346 [10], and it was no longer
used after the advent of Christianity, which considered considered performances
performances in in theatres
theatres asas pagan
pagan
activities. In the Middle Age, houses were built inside the cavea. In the 18th century, century, the the
church “Santa Maria della Verità” was built on the right side of the the cavea
cavea and
and it it is
is still
still
used [11]; therefore, the cavea
cavea is is not
not acoustically
acoustically symmetrical.
symmetrical.
Figure
Figure 2 shows
shows the
the ruins
ruins ofof the
the theatre
theatre in in aa painting
painting of
of 1759
1759 ca.
ca. (A. Joli, view of Queen
Queen
Maria Amalia of Saxony in Benevento). The theatre had only a few external external arcades and
arcades and
the
the first level was covered with earth, and houses were built inside the
first level was covered with earth, and houses were built inside the theatre.
theatre. Figure
Figure 33
shows
shows aa picture
picture of
of the
the early
early 1900s
1900s with
with the
the houses
houses inside
inside the
the cavea. During the
cavea. During the restoration
restoration
works,
works, the houses inside the cavea were demolished and only the church remained. The
the houses inside the cavea were demolished and only the church remained. The
cavea
cavea was
was rebuilt
rebuilt following
following the
the geometric
geometric rules
rules described
described byby Vitruvius,
Vitruvius, while
while the
the scene
scene
building
building was
was rebuilt
rebuilt with
with two
two lateral
lateral walls.
walls. The
The “ima
“ima cavea”
cavea” was
was rebuilt
rebuilt with
with fifteen
fifteen steps
steps
with
with terracotta bricks. The steps have the dimensions: height of 0.40 m and depth of
terracotta bricks. The steps have the dimensions: height of 0.40 m and depth of 0.70
0.70
m, ◦
m, with
with the
the cavea
cavea slope
slope of
of 30
30°.. The
The “summa
“summa cavea”cavea” was
was partially
partially rebuilt.
rebuilt. Figures
Figures 44 andand 55
show
show the
the internal
internal view
view in
in the
the current
current state,
state, while
while Figures
Figures 66 and
and 77 show
show anan aerial
aerial view.
view.
After the end of the restoration works, the theatre was reopened on 26 June 1957, with
a comedy of the ancient Greek (Ecclesiazusae or The Assembly women by Aristophanes).
For security reasons, the maximum capacity is 1800 spectators. The theatre is used for
different types of shows (prose, opera, jazz, music concert). Figure 8 shows the scene
building during a performance in the summer season, while Figure 9 shows the orchestra
and cavea during a performance.
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Figure2.2. The
Figure The ruins
ruins of
of the
the theatre
theatreininaapainting
paintinginin1759 (A.(A.
1759 Joli, view
Joli, of Queen
view Maria
of Queen Amalia
Maria of of
Amalia
Saxony2.inThe
Figure Benevento).
ruins of the theatre in a painting in 1759 (A. Joli, view of Queen Maria Amalia of
Saxony in Benevento).
Figure
Saxony2.inThe ruins of the theatre in a painting in 1759 (A. Joli, view of Queen Maria Amalia of
Benevento).
Saxony in Benevento).

Figure 3. The houses inside the cavea at the beginning of the 1900s.
Figure 3.3.The
Figure Thehouses
housesinside
insidethe
thecavea
caveaatatthe
thebeginning
beginningofofthe
the1900s.
1900s.
Figure 3. The houses inside the cavea at the beginning of the 1900s.

Figure 4. Scene building, orchestra, cavea and the church built on the cavea.
Figure 4. Scene building, orchestra, cavea and the church built on the cavea.
Figure4.4.Scene
Figure Scenebuilding,
building,orchestra,
orchestra,cavea
caveaand
andthe
thechurch
churchbuilt
builton
onthe
thecavea.
cavea.
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Figure 5. Scene building, orchestra and cavea.

Figure 5. Scene building, orchestra and cavea.
Figure 5. Scene building, orchestra and cavea.
Figure 5. Scene building, orchestra and cavea.

Figure 6. Aerial view: scene building, orchestra, cavea and the church built on the cavea.
Figure6.6.Aerial
Figure Aerialview:
view:scene
scenebuilding,
building,orchestra,
orchestra,cavea
caveaand
andthe
thechurch
churchbuilt
builton
onthe
thecavea.
cavea.
Figure 6. Aerial view: scene building, orchestra, cavea and the church built on the cavea.

Figure 7. Aerial view: scene building, orchestra, cavea and the church built on the cavea.
Figure 7. Aerial view: scene building, orchestra, cavea and the church built on the cavea.
Figure
Figure 7.7.Aerial
After Aerial view:of
theview:
end scene building,
thebuilding,
scene orchestra,
restoration works,
orchestra, cavea andthe
theand
cavea thechurch
theatre church builton
was reopened
built onthe
the
on cavea.
26 June 1957,
cavea.
with After the end
a comedy of theofancient
the restoration works, the theatre
Greek (Ecclesiazusae or Thewas reopened
Assembly on 26
women byJune 1957,
Aristoph-
with After
anes).a For the end
comedy of the
security ofancient
the restoration
reasons, Greek
the works, the theatre
(Ecclesiazusae
maximum capacity or 1800was
is The reopened
Assembly ontheatre
women
spectators. The 26
byJune is 1957,
Aristoph-
used
with
anes).
for a For
comedy
different of the
security
types of ancientthe
reasons,
shows Greek
(prose, (Ecclesiazusae
maximum
opera, capacity or
jazz, musicis The
1800Assembly women
spectators.
concert). FigureThe by Aristoph-
theatre
8 shows theisscene
used
anes).
for
buildingForduring
security
different types reasons,
of showsthe
a performance maximum
(prose,
in theopera, capacity is 1800
jazz,season,
summer music spectators.
concert).
while Figure
Figure The theatre
8 shows
9 shows theisscene
used
the orchestra
for different
building
and types
caveaduring
during of shows (prose,
a aperformance
performance. in theopera,
summerjazz,season,
music while
concert). Figure
Figure 8 shows
9 shows the scene
the orchestra
building during a performance
and cavea during a performance. in the summer season, while Figure 9 shows the orchestra
and cavea during a performance.
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Figure8.8.Scene
Figure Scenebuilding
buildingduring
duringaaperformance
performanceininthe
thesummer
summerseason.
season.
Figure 8. Scene building during a performance in the summer season.

Figure 9. Orchestra and cavea during a performance.

Figure9.9.Orchestra
Figure Orchestraand
andcavea
caveaduring
duringaaperformance.
performance.
2. Acoustic Measurements
2.2.Acoustic
AcousticMeasurements
Measurements
The acoustic measurements provide information about the show performances when
The
Theacoustic
acoustic measurements provide information about the show performances when
the actors are on measurements
the scene building provide
and information
the musicians aboutare the show
in the performances
orchestra [12–16].when The
the
the actors
actors are
are on
on the
thescene
scene building
building and
and the
the musicians
musicians are
are ininthe
the orchestra
orchestra [12–16].
[12–16]. TheThe
acoustic measurements were carried out with an omnidirectional sound source (type
acoustic
acoustic measurements
measurements were
were carried
carried out
out with
with an
an omnidirectional
omnidirectional sound
sound source
source (type
(type
Peecker Sound mod. JA12) in accordance with the ISO 3382 standard [17–19]. The sound
Peecker
Peecker Sound
Sound mod.
mod. JA12) in inaccordance with the ISO 3382 standard [17–19]. The Thesound
source was placed onJA12)
the scene accordance
building and with thein
then ISO
the3382 standard
orchestra: the [17–19].
source height sound
from
source
source was
was placed
placed on
on the
thescene
scene building
building and
and then
then in
in the
the orchestra:
orchestra: the
the source
source height
height from
from
the floor was 1.60 m, at the average height of an actor. The acquisition system was a Sym-
the
the floor
floor was
was 1.60 m,
1.60 m, at
atthe
theaverage
averageheight
height of of
an an actor.
actor. The The acquisition
acquisition systemsystem
was was
a Sym-a
phonie platform of 01 dB with MLS signal. MLS signals with order 16 and a length of 5 s
Symphonie
phonie platform of 01 dB with MLS signal. MLS signals with order 16 and a length
feed theplatform of 01 dB
sound source. Thewith MLS signal.
impulse responses MLSwere signals with order
detected by an16omnidirectional
and a length ofmi- 5s
of 5 s feed
feed the the sound
sound source.
source. The The
impulseimpulse responses
responses were were detected
detected by by omnidirectional
an an omnidirectional mi-
crophone, type GRAS 40 AR ½”. The microphones were placed in the cavea at a height of
microphone,
crophone, typeGRAS
type GRAS4040AR AR½”. 1/2”. The microphones were placed in the cavea at a height
Theaudience.
microphones were placedpositions
in the cavea atalong
a height of
0.8 m, the average height of a seated The microphone were three
of
0.80.8
m, m,thethe average
average height
height of aofseated
a seated audience.
audience. The The microphone
microphone positions
positions were were
along along
three
radial
three directions
radial in order
directions to to
in order obtain
obtainthetheaverage
averagevalues
valuesof of the acoustic parameters.
the acoustic parameters.The The
radial
monaural directions
acoustic inparameters
order to obtain
were the average
analyzed, values
such as of
the the acoustic parameters.
reverberation time (T30), The
the
monaural
monaural acoustic
acoustic parameters
parameters were
were analyzed,
analyzed, such
such as
asthe
the reverberation
reverberation time
time (T30),
(T30), the
the
Early
Early Delay
Delay Time
Time (EDT),
(EDT), the
the clarity
clarity (C80),
(C80), the
the definition
definition (D50),
(D50), the
the strength
strength (G)
(G) and
and the
the
Early
STI forDelay
speech Time (EDT), the
intelligibility, clarity
which (C80),
provides thea definition
numerical (D50),
value the
for strength
speech (G) and
transmission the
STI
STI for speech
for speech intelligibility, which provides a numerical value for speech transmission
quality.
quality. STIisisaaintelligibility,
STI numeric
which provides
numericrepresentation
representation measure
measure
a numerical
ofof speech
speech
value for speechcharacteristics
intelligibility
intelligibility
transmission
characteristics
quality.
whosevalue STI is
valuevary a numeric
varyfrom representation
from00==badbadtoto11==excellentmeasure
excellent(Table of speech
(Table11showsshowstheintelligibility
theSTI STIscale) characteristics
scale)[20,21].
[20,21].The The
whose
whose
acoustic value vary from 0were
measurements = bad to 1 = out
carried excellent
in (Table
empty 1 showswithout
condition the STI scale) [20,21].
spectators, so The
the
acoustic measurements were carried out in empty condition without spectators, so the
acoustic
background measurements
noise was were
reduced; carried
during out
the in empty
acoustic condition
measurements, without the spectators,
background so the
noise
background noise was reduced; during the acoustic measurements, the background noise
background
hadaasound noise
soundmeasurement was reduced;
measurementlevel during
levelof of35 the
35dBA.
dBA.Theacoustic measurements,
Thetheatre
theatreisislocated the
locatedininold background
oldtown,
town,an noise
anareaarea
had
had
awayfroma sound
fromtraffic measurement
trafficroads. level
roads.Acoustic of 35
Acousticmeasurements dBA.
measurementswere The theatre
werecarried is
carriedoutlocated
outwith in
withaa01 old
01dB town,
dBsound an
soundlevel area
level
away
away from
meterinside traffic
insidethe roads.
theorchestra Acoustic
orchestraon onaatripodmeasurements
tripodatataaheight were
heightofof1.6 carried
1.6mmfrom
fromtheout with
thefloor a 01 dB
floor[22,23]. sound
[22,23].Figure
Figure10level
10
meter
meter inside the orchestra on a tripod at a height of 1.6 m from the floor [22,23]. Figure 10
Buildings 2021, 11, 212 6 of 16

shows the positions of the sound level meter inside the orchestra, during the background
noise measurements.
Buildings 2021, 11, x FOR PEER REVIEW 6 of 16
Table
Buildings 2021, 11, x FOR PEER REVIEW 1. STI scale. 6 of 16

Quality Bad Poor Fair Good Excellent

shows the positions of the sound level meter inside the orchestra, during the background
STI
noisethe
shows measurements. 0–0.3
positions of the 0.3–0.45
sound level meter 0.45–0.6 during0.6–0.75
inside the orchestra, the background0.75–1.0
noise measurements.

Figure 10. Positions of the sound level meter inside the orchestra, during the background noise
Figure 10. Positions of the sound level meter inside the orchestra, during the background noise mea-
measurements.
Figure 10. Positions of the sound level meter inside the orchestra, during the background noise
surements.
measurements.
Through acoustic simulations with software for the architectural acoustics, it was
Through
possible
acoustic
to acoustic
simulations with
estimate simulations
the characteristics
software
of ancient
for the architectural acoustics, it was
Through with software fortheatres in modernacoustics,
the architectural use. Theitacoustic
was
possible
possible to
characteristicsestimate
to estimate do not the
the change characteristics
when the
characteristics of caveaof
ancient ancient
is theatres theatres
occupiedinbymodern in modern
the audience.
use. The use. Theisacoustic
Theacoustic
theatre
characteristics
an open space,
characteristics do
do not not
so the change
absence
change when when
of the
a roof the cavea
allows
cavea is occupied
a strongby
is occupied by
dispersion the audience.
of theThe
the audience. sound The
is theatre is
towards
theatre
an
an theopen
open space,
outside. so the
space, Furthermore, absence
so the absencethe of
of aportiona roof allows
of thea cavea
roof allows a strong
strongoccupied dispersion
dispersionbyof
the of
theaudiencetheis modesttowards
sound
sound towards
the
the outside.
compared
outside. Furthermore,
to the overall the
Furthermore, thethe
areaportion
of portion
of the of
theatre the occupied
[24].
cavea cavea occupied by the audience
by the audience is modest is modest
Figure
compared
compared to11the
to the shows the
areapositions
overall
overall area of sound
of theoftheatre
the [24].source
theatre [24].(scene building and orchestra) and the
positions
Figure
Figureof shows
11 theshows
11 twelve receivers
the positions
the insound
of
positions theofcavea.
source source
sound (scene building and orchestra)
(scene building and the and the
and orchestra)
positions
positionsof the twelve
of the receivers
twelve in thein
receivers cavea.
the cavea.

Figure 11. Positions of sound source (scene building and orchestra) and the positions of the receiv-
ers in
Figure
Figure11.the cavea.
Positions
11. The squares
of sound
Positions in source
source
of sound red indicate
(scene thebuilding
position
building
(scene of theorchestra)
and orchestra)
and source, while
and the andthe
thecircles
positions of theinreceiv-
positions blue
of the receivers
indicate
ersininthe the positions
thecavea.
cavea. The of the
squares in receivers.
red indicate the position of the source, while the circles in blue
The squares in red indicate the position of the source, while the circles in blue indicate
indicate the positions of the receivers.
the positions of the receivers.
gs 2021, 11, x FOR PEER REVIEW 7 of 16

Table 1. STI scale.

Buildings 2021, 11, 212 7 of 16
Quality Bad Poor Fair Good Excellent
STI 0–0.3 0.3–0.45 0.45–0.6 0.6–0.75 0.75–1.0

Even theatres
Even if the ancient if the ancient
are antheatres are an
open space open space
without a roofwithout a roofsignificant
and without and without significant
reflective surfaces, the acoustic parameters for good listening conditions refer to closedrefer to closed
reflective surfaces, the acoustic parameters for good listening conditions
theatres,
theatres, and Table and the
2 shows Table 2 shows
optimal the of
values optimal valuesparameters
the acoustic of the acoustic parameters
in different per- in different
performances (musical
formances (musical or speech) [25,26]. or speech) [25,26].

Table 2. OptimalTable 2. Optimal

values values of
of the acoustic the acoustic
parameters in parameters in different
different musical musical
listening listening
conditions orconditions or speech
intelligibility.
speech intelligibility.

Parameters Parameters EDT, s EDT, s s

T30, T30,dB
C80, s C80, dB
D50 D50
Optimal values for musical
Optimal values for musical
1.8 < EDT < 2.6 1.81.6 < T30
< EDT < 2.2 1.6
< 2.6 −2 << T30
C80<<2.2
2 −2 < C80 < 2
<0.5 <0.5
performances performances
Optimal values for Optimal
speech per-
values for speech
performances 1.0 0.8 <1.0T30 < 1.2 0.8 < T30 < 1.2 >0.5 >0.5
formances

Referring to the positiontoofthe

Referring theposition
sound source in thesource
of the sound orchestra and
in the on the scene
orchestra build-
and on the scene building,
ing, Figure 12Figure
shows 12
theshows
average
themeasured values of values
average measured the acoustic
of the parameters: EDT, T30,EDT, T30, D50
acoustic parameters:
D50 and C80, and
in the octave
C80, band
in the frequencies
octave from 125 Hz
band frequencies fromto 125
4000HzHz,to in accordance
4000 with
Hz, in accordance with the
the ISO 3382 standard [27–29]. The
ISO 3382 standard measured
[27–29]. average average
The measured values show
valuesthe synthesis
show of the of the twelve
the synthesis
twelve measurements obtained
measurements in the cavea.
obtained in the cavea.

Figure 12.
Figure 12. Average Average
measured measured
values valuesparameters:
of acoustic of acoustic parameters: EDT,
EDT, T30, D50 andT30,
C80D50 andoctave
in the C80 inband
the octave
frequencies from
band frequencies
125 Hz to 4000 Hz. from 125 Hz to 4000 Hz.

In open-air
In open-air theatres, theatres, G
the parameter the parameter
(strength, dB)Gassumes
(strength, dB) assumes
a special a special
significance for significance
for the assessment of acoustic characteristics. This parameter is defined
the assessment of acoustic characteristics. This parameter is defined in the ISO 3382 stand- in the ISO 3382
ard. G (strength, dB) is the gain from the sound pressure level, which is produced by the is produced
standard. G (strength, dB) is the gain from the sound pressure level, which
by the same
same omnidirectional soundomnidirectional
source, with the sound
samesource,
power with
level the same
(Lw), in apower level
free field at a(Lw), in a free
field at a distance of 10 m from the sound source. To measure the acoustic parameter G,
the omnidirectional sound source was calibrated measuring the sound power level Lw
(dB). The sound power level Lw was measured through the “substitution method” with
a reference sound source. The procedure consists of a comparison of the sound pressure
level, in octave band, of the source under test with those of the calibrated reference sound
Buildings 2021, 11, x FOR PEER REVIEW 8 of 16

distance of 10 m from the sound source. To measure the acoustic parameter G, the omni-
Buildings 2021, 11, 212 8 of 16
directional sound source was calibrated measuring the sound power level Lw (dB). The
sound power level Lw was measured through the “substitution method” with a reference
sound source. The procedure consists of a comparison of the sound pressure level, in oc-
tave band,The
source. of the sourcesound
reference under source
test with those of
consists of the calibratedfan
a centrifugal reference
drivensound source.
by a powerful
The reference sound
asynchronous source
motor, type consists
B&K 4204. of aThe
centrifugal fan procedures
calibration driven by a werepowerful asynchro-
carried out in a
nous motor,
closed largetype
room,B&K 4204.
and The
then thecalibration
set-up was procedures
preserved.were With carried out in
the same a closed large
“calibration” Lw
room, and
set-up, then
the the set-up wassound
omnidirectional preserved.
sourceWith
wasthefedsame “calibration”
during the acoustic Lwmeasurements
set-up, the om-in
nidirectional
the theatre. sound source parameter
The acoustic was fed during the acoustic
G (strength, measurements
dB) was calculated in thethe
with theatre. The
following
acoustic
formula: G = Lp − Lw + 31 (dB), where Lp (dB) is the sound pressure level detected −in
parameter G (strength, dB) was calculated with the following formula: G = Lp
Lwthe+ cavea
31 (dB),in where
twelve Lp (dB) is the
positions. Lwsound
(dB) ispressure
the sound level detected
power levelinofthe
thecavea in twelve
omnidirectional
positions. Lw (dB)
sound source is theTable
[30,31]. sound3 power
shows level
the Lwof the
(dB)omnidirectional sound source [30,31].
values of the omnidirectional sound
Table
source3 shows the Lw (dB) values of the omnidirectional sound source measured.
measured.

Lw(dB)
Table3.3.Lw
Table (dB)sound
soundpower
powerlevel
levelofofthe
theomnidirectional
omnidirectionalsound
soundsource
sourcemeasured.
measured.

Frequency, Hz
Frequency, Hz 125
125 250 250 500 1000
500 20001000 4000 2000 4000
Lw, dB
Lw, dB 92
92 102 102 98 97
98 103 97 105 103 105

Figure 13 shows the average values of the strength (G, dB) measured in the cavea,
Figure 13 shows the average values of the strength (G, dB) measured in the cavea,
when the sound source is placed on the scene building and in the orchestra. Figure 13
when the sound source is placed on the scene building and in the orchestra. Figure 13 shows
shows the average
the average valuesvalues
of theof the strength
strength (G, dB)(G,asdB) as a function
a function of theof the distance
distance from sound
from sound source
source to receivers,
to receivers, and
and it is it is avalue
a Gmid Gmidobtained
value obtained as theof
as the average average of middle
G for the G for the middle
frequencies
frequencies
at 500, 1000atand
500,2000
1000Hz andin2000 Hz in
octave octave
bands. Thebands. The strength
strength (G) values(G)are
values are negative,
negative, and they
and they are comparable to similar acoustic measurements in
are comparable to similar acoustic measurements in Greek and Roman theatresGreek and Roman theatres
[32,33].
[32,33]. The Benevento
The Benevento Roman Roman
theatre intheatre in itsstate
its current current
has state has insufficient
insufficient conditionsconditions for
for performing
performing events such as opera
events such as opera or speech alone. or speech alone.

Figure 13. Average values of the strength (Gmid, dB) as a function of the distance from sound source
Figure 13. Average
to receivers, valuessource
with sound of the strength (Gmid,
on the scene dB) asand
building a function of the distance from sound
in the orchestra.
source to receivers, with sound source on the scene building and in the orchestra.
The singer’s voice cannot be appreciated by the spectators sitting in the cavea, because
the The
musicsinger’s
listenedvoice
to iscannot
“dry”, bethatappreciated by the spectators
is, it lacks reflections that enrichsitting in theofcavea,
the sense be-
reverbera-
tion and
cause therefore
the music of quality.
listened to is Furthermore,
“dry”, that is,this effectreflections
it lacks becomes even thatmore negative
enrich dueofto
the sense
the distance between
reverberation the cavea
and therefore and theFurthermore,
of quality. scene building. thisIneffect
fact, becomes
the spectators seatednega-
even more in the
lastdue
tive rowstocomplain
the distanceof abetween
low strength in the and
the cavea singers’ voice during
the scene building.theInopera, so itspectators
fact, the would not
be wrong
seated tolast
in the use rows
sound-amplification
complain of a low systems.
strength in the singers’ voice during the opera,
Figure 14 shows the average values
so it would not be wrong to use sound-amplification of the strength
systems. (G, dB) in frequency function
(octave bands)
Figure from 125
14 shows Hz to 4000
the average Hz, with
values of thesound source
strength (G, on
dB)thein scene building
frequency and in
function the
(oc-
orchestra.
tave bands) The
fromstrength
125 Hz (G, dB) values,
to 4000 Hz, with insound
the frequency
source on domain,
the scenearebuilding
greater, as
andexpected,
in the
for the position of the sound source in the orchestra.
Buildings 2021, 11, x FOR PEER REVIEW 9 of 16

Buildings 2021, 11, 212 9 of 16

orchestra. The strength (G, dB) values, in the frequency domain, are greater, as expected,
for the position of the sound source in the orchestra.

Figure 14.14.
Figure Average
Averagevalues ofof
values the strength
the (G,(G,
strength dB) inin
dB) frequency function
frequency (octave
function bands)
(octave with
bands) sound
with sound
source onon
source the scene
the building
scene and
building inin
and the orchestra.
the orchestra.

3.3. Discussion
Discussion
Theacoustic
The acousticmeasurements
measurements show
show valuesofofreverberation
values reverberationtime time(T30)
(T30)equal
equaltoto1.0 1.0s s
(Figure 12). The insufficient effects of sound reflections means that
(Figure 12). The insufficient effects of sound reflections means that the actors or singers the actors or singers
voices
voices arrive
arrive weakly
weakly onon thethe
stepssteps of the
of the cavea.
cavea. WithWith the sound
the sound sourcesource
in theinorchestra,
the orchestra, the
the values of the measured reverberation time (T30) were
values of the measured reverberation time (T30) were lower at middle frequencies. lower at middle frequencies.
Early
EarlyTime
Delay Delay Timeparameters
(EDT) (EDT) parameters(Figure(Figure
12) are 12) are smaller
smaller due to due to the absence
the absence of reflective
of reflective sur-
surfaces at the scene building and other architectural elements. The
faces at the scene building and other architectural elements. The parameter clarity (C80) parameter clarity (C80)
for musical performances is considered (Figure 12). The
for musical performances is considered (Figure 12). The optimum range for symphonyoptimum range for symphony
concertsfor
concerts forobjective
objectiveclarity
clarity(C80)
(C80)appears
appearstotobe bebetween
between−2 −and
2 and+2+2 dB,dB, which
which is isfarfarfrom
from
the values for good listening for musical performances. While
the values for good listening for musical performances. While the acoustic measurement the acoustic measurement
values
values (C80)
(C80) areequal
are equal1010dB,dB,thetheparameter
parameterdefinition
definition(D50)(D50)(Figure
(Figure12) 12)isisover
over0.8,0.8,sosoinin
accordance with Table 2, the theatre has good characteristics for speech performances. The
accordance with Table 2, the theatre has good characteristics for speech performances. The
average values of STI are excellent, in fact STI is equal to 0.81 with sound source on the
average values of STI are excellent, in fact STI is equal to 0.81 with sound source on the
scene building and STI is equal to 0.84 with sound source in the orchestra. The theatre
scene building and STI is equal to 0.84 with sound source in the orchestra. The theatre has
has good acoustic characteristics for understanding speech; in fact, it is good in every
good acoustic characteristics for understanding speech; in fact, it is good in every point of
point of the cavea. The reverberation time (T30) increases at the frequency of 500 Hz. This
the cavea. The reverberation time (T30) increases at the frequency of 500 Hz. This effect is
effect is due to the reflections of the sound waves on the steps. The steps dimensions
due to the reflections of the sound waves on the steps. The steps dimensions are height
are height equal to 0.40 m, and depth equal to 0.70 m. At the frequency of 500 Hz, the
equal to 0.40 m, and depth equal to 0.70 m. At the frequency of 500 Hz, the wavelength
wavelength (λ) is equal to 0.7 m, the dimension of step depth, so at this frequency, there is
(λ) is equal to 0.7 m, the dimension of step depth, so at this frequency, there is an effect of
an effect of sound amplification as the reverberation time increases. The ancient theatres
sound amplification as the reverberation time increases. The ancient theatres were famous
were famous for their “good acoustics”. Many scientists have investigated this legend and
for their “good acoustics”. Many scientists have investigated this legend and many papers
many papers have been written. The secret of good acoustics is linked to the diffusion of
have
soundbeen
onwritten. The secret
the steps—the tiersofare
good acoustics
regular surfaces is linked to the
that allow diffusion
a good of sound
diffusion of theonsoundthe
steps—the tiers are regular surfaces that allow a good diffusion of the
and therefore to obtain good acoustic performances [34,35]. In order to assess the acoustic sound and therefore
tocharacteristics
obtain good acoustic performances
of the Roman theatre of [34,35]. In order
Benevento to assess
in the actual the acoustic characteristics
configuration, a comparison
ofwas
the conducted
Roman theatre of Benevento in the actual configuration,
with the acoustic parameters measured in empty conditions a comparison was
in the con-
open-air
ducted with the acoustic parameters measured in empty conditions
theatres of Pompeii (large theatre and Odeon), Cassino, Posillipo, Taormina, Segesta and in the open-air thea-
tres of Pompeii
Siracusa (large
[36–39]. Thetheatre
averageandvalues
Odeon), of Cassino,
the monaural Posillipo, Taormina,
parameters Segesta
at the and Sira-
mid-frequency
cusa [36–39]. The average values of the monaural parameters
bands of 500 Hz and 1000 Hz are reported in Table 4. From the comparison with the at the mid-frequency bands
other
ofreconstructed
500 Hz and 1000 Hz are reported in Table 4. From the comparison
open-type theatres, the Benevento Roman theatre does not have the shortestwith the other recon-
structed open-type
reverberation theatres,
time. the Benevento
The acoustic parameters Roman theatre doestonot
are comparable have
those the shortest
measured re-
in other
verberation time.
open space theatres. The acoustic parameters are comparable to those measured in other
open space theatres.
Buildings 2021, 11, 212 10 of 16

Table 4. Acoustic parameters averaged at mid-frequency bands of 500 Hz and 1000 Hz measured in
some ancient theatres in empty conditions.

Theatres T30 (s) C80 (dB) D50 (–) Cavea Diameter (m)
Benevento 0.9 8.0 0.78 90
Cassino 0.6 19.0 0.91 53
Pompeii (large theatre) 0.9 6.0 0.70 60
Pompeii (Odeon) 1.0 9.5 0.8 30
Posillipo 1.1 3.0 0.70 47
Taormina 1.9 1.17 0.53 110
Buildings 2021, 11, x FOR PEER REVIEW Segesta 0.5 16.0 0.90 63 10 of 16
Siracusa 1.2 13.0 0.90 140

To4.better
Table Acoustic understand the acoustic
parameters averaged behavior of
at mid-frequency theoftheatre,
bands starting
500 Hz and 1000 Hzfrom the data
measured
measured in thetheatres
in some ancient cavea (12 measurement
in empty conditions.points along three radial directions), a map of the
average spatial distribution of the acoustic parameters was obtained by means of simply
Theatres T30 (s) C80 (dB) D50 (–) Cavea Diameter (m)
tracing the level lines. The acoustic parameter analyzed are C80, STI and T30.
Figure 15 shows the spatial distribution of C80 (dB) measured values at90the frequency
Benevento 0.9 8.0 0.78
of 1000 Hz, whenCassinothe sound source0.6 19.0 building.
is on the scene 0.91The points of the 53 cavea closest
to thePompeii (large theatre)
scene building have a higher0.9 6.0 while in0.70
value of C80, the upper right area60 of the cavea,
Pompeii (Odeon) 1.0 9.5 0.8
the C80 value tends to decrease. However, the value of C80 does not present 30 optimal
Posillipo 1.1 3.0 0.70
conditions for listening to music. Figure 16 shows the spatial distribution of C80 (dB) 47
Taormina
measured values at the frequency1.9 of 1000 Hz,1.17
when the0.53 sound source is in 110the orchestra.
Additionally, in this configuration, the points of the cavea closest to the 63
Segesta 0.5 16.0 0.90 scene building
have a higher Siracusa
value of C80, while1.2 13.0 in an 0.90
C80 decreases area at the top of 140
the cavea (blue
area) by the effects of the sound reflections due to the presence of the church walls.
To better
Figure understand
17 shows the acoustic
the spatial behavior
distribution of the
of STI theatre,
(speech startingindex)
transition from the data
measured
measured in the cavea (12 measurement points along three radial directions),
values when the sound source is on the scene building, while Figure 18 shows the spatial a map of the
average spatial distribution of the acoustic parameters was obtained by
distribution of STI (speech transition index) measured values when the sound source is inmeans of simply
tracing
the the level
orchestra. lines. The
Generally, inacoustic
open spaceparameter analyzed
theatres in the are C80, STI
original and T30.
configuration, the values
Figure 15 shows the spatial distribution of C80 (dB) measured values at the frequency
of the STI were greater in the central area of the cavea, which is due to the geometrically
of 1000 Hz, when the sound source is on the scene building. The points of the cavea closest
symmetrical structure of the theatre. Today, the theatres are renovated, and the symmetry
to the scene building have a higher value of C80, while in the upper right area of the cavea,
is not maintained, as in the case of the Roman theatre of Benevento. In fact, the cavea
the C80 value tends to decrease. However, the value of C80 does not present optimal con-
irregular geometry leads to effects of irregular distribution of the sound. The values of STI
ditions for listening to music. Figure 16 shows the spatial distribution of C80 (dB) meas-
in both configurations are not uniform, with significant variations inside the cavea. The
ured values at the frequency of 1000 Hz, when the sound source is in the orchestra. Addi-
values of STI change between 0.90 and 0.75. The theatre has excellent performances for
tionally, in this configuration, the points of the cavea closest to the scene building have a
listening to speech. The voice quality listening changes from point to point, but in every
higher value of C80, while C80 decreases in an area at the top of the cavea (blue area) by
area of the cavea, the speech comprehension is good.
the effects of the sound reflections due to the presence of the church walls.

Figure 15.Sound
Figure15. Soundsource
source on
on the scene building.
the scene building.Spatial
Spatialdistribution
distributionof of
C80C80 (dB)
(dB) at the
at the frequency
frequency of of
1000 Hz.
1000 Hz.
Buildings 2021, 11, 212 11 of 16
Buildings 2021, 11, x FOR PEER REVIEW 11 of 16

Figure 16. Sound source in the orchestra. Spatial distribution of C80 (dB) at the frequency of 1000
Hz.

Figure 17 shows the spatial distribution of STI (speech transition index) measured
values when the sound source is on the scene building, while Figure 18 shows the spatial
distribution of STI (speech transition index) measured values when the sound source is in
the orchestra. Generally, in open space theatres in the original configuration, the values
of the STI were greater in the central area of the cavea, which is due to the geometrically
symmetrical structure of the theatre. Today, the theatres are renovated, and the symmetry
is not maintained, as in the case of the Roman theatre of Benevento. In fact, the cavea
irregular geometry leads to effects of irregular distribution of the sound. The values of STI
in both configurations are not uniform, with significant variations inside the cavea. The
values of STI change between 0.90 and 0.75. The theatre has excellent performances for
Figure
Figure 16. Sound
16.
listening Sound source
to speech. in
inthe
sourceThe orchestra.
voice
the Spatial
quality
orchestra. distribution
listening
Spatial ofofC80
changes
distribution (dB)
from
C80 atat
the
point
(dB) frequency
to
the of of
point, but
frequency 1000 Hz.
in1000
every
area of the cavea, the speech comprehension is good.
Hz.

Figure 17 shows the spatial distribution of STI (speech transition index) measured
values when the sound source is on the scene building, while Figure 18 shows the spatial
distribution of STI (speech transition index) measured values when the sound source is in
the orchestra. Generally, in open space theatres in the original configuration, the values
of the STI were greater in the central area of the cavea, which is due to the geometrically
symmetrical structure of the theatre. Today, the theatres are renovated, and the symmetry
is not maintained, as in the case of the Roman theatre of Benevento. In fact, the cavea
irregular geometry leads to effects of irregular distribution of the sound. The values of STI
in both configurations are not uniform, with significant variations inside the cavea. The
values of STI change between 0.90 and 0.75. The theatre has excellent performances for
listening to speech. The voice quality listening changes from point to point, but in every
area of the cavea, the speech comprehension is good.

Buildings 2021, 11, x FOR PEER REVIEW 12 of 16

Figure 17.17.Sound
Figure Soundsource
sourceononthe
thescene building.
scene building.Spatial
Spatialdistribution
distributionofof
STI.
STI.

Figure 19 shows the spatial distribution of T30 (s) reverberation time measured val-
ues when the sound source is on the scene building. The values of T30 are higher in the
right area of the cavea (T30 = 0.90 s), while in left area, T30 decreases (T30 = 0.75 s). Figure
20 shows the spatial distribution of T30 (s) reverberation time measured values when the
sound source is in the orchestra. In this configuration, the trend of T30 follows the geo-
metric distribution of the steps of the cavea. The reverberation time values are equal to 1.0
s due to the absence of the scene building and other reflecting surfaces.

Figure 17. Sound source on the scene building. Spatial distribution of STI.

Figure 19 shows the spatial distribution of T30 (s) reverberation time measured val-
ues when the sound source is on the scene building. The values of T30 are higher in the
Figure
18.18.Sound
Sound sourceininthe
the orchestra.Spatial
Spatial distribution
ofof STI.
Figure
right area of the source
cavea (T30 =orchestra.
0.90 s), while indistribution
left area, T30 STI.
decreases (T30 = 0.75 s). Figure
20 shows the spatial distribution of T30 (s) reverberation time measured values when the
Figure 19 shows the spatial distribution of T30 (s) reverberation time measured values
sound source is in the orchestra. In this configuration, the trend of T30 follows the geo-
when the sound source is on the scene building. The values of T30 are higher in the right
metric
area ofdistribution
the cavea (T30 of the steps
= 0.90 s),ofwhile
the cavea.
in leftThe reverberation
area, T30 decreasestime values
(T30 ares).equal
= 0.75 to 1.0
Figure 20
sshows
due tothe
thespatial
absence of the scene building and other reflecting surfaces.
distribution of T30 (s) reverberation time measured values when the
Buildings 2021, 11, 212 12 of 16

sound source is in the orchestra. In this configuration, the trend of T30 follows the geometric
distribution of the steps of the cavea. The reverberation time values are equal to 1.0 s due
Figure
Figure18.
18.Sound
Soundsource
sourceininthe
theorchestra.
orchestra.Spatial
Spatialdistribution
distributionofofSTI.
STI.
to the absence of the scene building and other reflecting surfaces.

Figure 19.
Figure Sound source on the scene building. Spatial distribution of (s)
T30 (s) atfrequency
the frequency of
Figure19.
19.Sound
Soundsource
sourceononthe
thescene
scenebuilding.
building.Spatial
Spatialdistribution
distributionofofT30
T30 (s)atatthe
the frequencyofof
1000
1000 Hz.
Hz.
1000 Hz.

Figure 20.
Figure Sound source in the orchestra. Spatial distribution of T30 (s) at the frequency of 1000 Hz.
Figure20.
20.Sound
Soundsource
sourceininthe
theorchestra.
orchestra.Spatial
Spatialdistribution
distributionofofT30
T30(s)(s)atatthe
thefrequency
frequencyofof1000
1000
Hz.
Hz.
The theatre, in its current configuration, is not symmetric, the scene building is partly
rebuilt,
The and theincentral area is empty. Theis“summa cavea” wasscene
partially rebuilt. In the
Thetheatre,
theatre, initsitscurrent
currentconfiguration,
configuration, isnot
notsymmetric,
symmetric,thethe scenebuilding
buildingisispartly
partly
upper
rebuilt, part of the cavea, the closing wall was partially rebuilt. The church (built in the 18th
rebuilt,and
andthe thecentral
centralarea
areaisisempty.
empty.TheThe“summa
“summacavea”
cavea”waswaspartially
partiallyrebuilt.
rebuilt.InInthethe
century) occupied
upper the right area of thewas
cavea. Theserebuilt.
non-symmetrical geometries lead to
upperpart
partofofthe
thecavea,
cavea,thetheclosing
closingwall
wall waspartially
partially rebuilt.The
Thechurch
church(built
(builtininthe
the18th
18th
non-symmetrical acoustic characteristics inside the theatre.
Figure 21 shows the measured impulse response value, when the sound source is on
the scene building, while Figure 22 shows the measured impulse response value when the
source is in the orchestra and the measurement microphone is on the octave step of the
cavea (halfway of the cavea). For both configurations, the impulse response is composed
of a succession of sound reflections. The first impulse is due to the direct sound, and the
second impulse is due to the sound reflection on the orchestra floor. Then, the steps of the
cavea produce multiple reflections that contribute to the reinforcement of the direct sound.
 Figure
the scene 21 shows
building, the Figure
while measured impulse
22 shows theresponse
measuredvalue, when
impulse the sound
response source
value whenistheon
the scene building, while Figure 22 shows the measured impulse response value
source is in the orchestra and the measurement microphone is on the octave step of the when the
source(halfway
cavea is in the of
orchestra andFor
the cavea). theboth
measurement microphone
configurations, is on response
the impulse the octave
is step of the
composed
cavea
of (halfway of
a succession of sound
the cavea). For both
reflections. Theconfigurations, the
first impulse is impulse
due to the response is composed
direct sound, and the
Buildings 2021, 11, 212 of a succession of sound reflections. The first impulse is due to the direct sound,
second impulse is due to the sound reflection on the orchestra floor. Then, the steps and
13 the
of of
the16
second impulse is due to the sound reflection on the orchestra floor. Then, the
cavea produce multiple reflections that contribute to the reinforcement of the direct steps of the
cavea produce multiple reflections that contribute to the reinforcement of the direct
sound.
sound.

Figure21.
Figure Soundsource
21.Sound sourceononthe
thescene
scenebuilding:
building:impulse
impulseresponse
response value
value obtained
obtained when
when thethe micro-
micro-
Figure
phone 21.
is Sound
on the source
octave on
step the
of scene
the building:
cavea.
phone is on the octave step of the cavea. impulse response value obtained when the micro-
phone is on the octave step of the cavea.

Figure
Figure22.
22.Sound
Soundsource
sourcein inthe
theorchestra:
orchestra: impulse
impulse response
response value
value obtained
obtained when
when the
the microphone
microphone is
Figure
is on the22. Sound
octave source
step in
of the the orchestra:
cavea. impulse response value obtained when the microphone
on the octave step of the cavea.
is on the octave step of the cavea.
When
When the soundsource
the sound sourceisisplaced
placed in in
thethe orchestra,
orchestra, Figure
Figure 23 shows
23 shows the values
the values of soundof
sound When the level
pressure sound(Lp,source
dBA) isfor
placed
six in the microphone
different orchestra, Figure
points 23
in shows
the caveatheatvalues
the of
sixth
pressure level (Lp, dBA) for six different microphone points in the cavea at the sixth row,
sound
row, pressure level (Lp, dBA) for six different microphone points in the cavea at the sixth
whilewhile
FigureFigure 24 shows
24 shows the values
the values of sound
of sound pressure
pressure level
level at theatfourteenth
the fourteenth row.value
row. The The
row,
value while Figure 24 shows the values of sound pressure level at the fourteenth row. The
of theof the sound
sound pressurepressure leveldBA)
level (Lp, (Lp, is
dBA) is higher
higher on the on thearea
right rightofarea of thethan
the cavea caveathethan
left
value
the ofarea.
the sound
leftThis This is pressure
effect levelthe(Lp, dBA)reflections
is higher onon the rightthe
area of thebuilt
cavea than
ings 2021, 11, x FOR PEER REVIEW area. effect due istodue
the to
soundsound reflections on walls walls
of theofchurch church
14 built on on
the the
right
of 16 built on the
the left
right sidearea. Thiscavea,
effectsois the
duetheatre
to the sound reflections on walls of the church
side of theofcavea,
the so the theatre is notisacoustically
not acoustically symmetric
symmetric [40–42].
[40–42].
right side of the cavea, so the theatre is not acoustically symmetric [40–42].

Figure 23. Sound pressure level (Lp, dBA) at row six, with sound source in the orchestra.
Figure 23. Sound pressure level (Lp, dBA) at row six, with sound source in the orchestra.
Buildings 2021, 11, 212 14 of 16

Figure 23. Sound pressure level (Lp, dBA) at row six, with sound source in the orchestra.

Figure 24. Sound pressure level (dBA) at row 14, with sound source in the orchestra.
Figure 24. Sound pressure level (dBA) at row 14, with sound source in the orchestra.

4. Conclusions
4. Conclusions
In this paper, the acoustic characteristics of the Roman theatre of Benevento were
reported. The theatre was
In this built the
paper, during the Imperial
acoustic Period,ofwhen
characteristics Benevento
the Roman theatrewasofanBenevento
im- were
portant city reported.
along the Appia road that
The theatre wasconnects Romethe
built during with Brindisi.Period,
Imperial The theatre
whenwas de-
Benevento was an
stroyed during important city along
the barbarian the Appia
invasions and was roadonly
thatrebuilt
connects RomeToday,
in 1900. with Brindisi.
the theatre Theis theatre was
destroyed
a cultural attraction, during
and during thethebarbarian
summer invasions
seasonsand wasthe
inside only rebuiltthere
theatre, in 1900. Today, the theatre is
are numer-
a cultural attraction,
ous artistic performances. One ofand the during
advantagesthe summer
of the Romanseasonstheatre
inside oftheBenevento
theatre, there are numerous
is the
artisticitperformances.
fact that although is located in theOne of the
center advantages
of the old town,ofit the is farRoman
from thetheatre of lines,
traffic Benevento is the
so background factnoise
that levels
althoughinside it isthe
located
theatreinare
thevery
centerlow of(35
thedBA),
old town,
and theit iseffect
far from the traffic lines,
of wind
so background
blow is negligible. noise levels
In fact, background inside
noise and the
wind theatre are veryfactors
are important low (35 fordBA), and the effect of
the speech
intelligibilitywind
insideblow is negligible.
open space theatres.In fact,Thebackground
analysis noise of the and wind are
acoustic important factors for the
measurements
showed us that the reverberation times do not exceed 1.0 s and the measuredacoustic
speech intelligibility inside open space theatres. The analysis of the values measurements
of
STI are high. The theatre lacks reflective surfaces that provide good acoustics for measured
showed us that the reverberation times do not exceed 1.0 s and the musical values of
performances. STITherefore,
are high. The the theatre
theatre lacks
couldreflective
be used surfaces
for prose, thatbutprovide
not forgood lyricacoustics
or sym- for musical
phonic music, performances.
because there Therefore,
are no sound the theatre could that
reflections be used for prose,
improve but notAfor
the music. lyric or symphonic
possible
music, because there are no sound reflections that
solution to improve the acoustics would be the installation of temporary structures improve the music. A possible
of solution
to improve the acoustics would be the installation of
high-density PVC rigid sheets with reflective characteristics so that the sound incident on temporary structures of high-density
the sheets can PVCbe rigid sheets
sent back intowiththereflective
cavea. The characteristics
theatre has few so sound
that thereflections,
sound incident and for on the sheets
its current use, all the events involve the use of sound amplification with loudspeakers. its current
can be sent back into the cavea. The theatre has few sound reflections, and for
use, all theacoustics
Despite the insufficient events involveand thethe useuse of sound
of sound amplification
amplification with ancient
systems, loudspeakers.
the- Despite
the insufficient acoustics and the use of sound amplification
atres in modern use are appreciated by the public for the incomparable scenery that is systems, ancient theatres in
created, where modern
natureuse andareartappreciated
create a unique by the andpublic for theenvironment
suggestive incomparable forscenery
shows. that is created,
where nature and art create a unique and suggestive environment for shows.
Author Contributions: Conceptualization, S.S., G.I., G.C. and A.T.; methodology, G.I., G.C. and
AuthorG.I.,
A.T.; investigation, Contributions:
G.C. and A.T.;Conceptualization,
measurements G.I., S.S.,G.C.,
G.I., G.C. andA.T.;
I.L. and A.T.; software
methodology, G.I., G.C. and A.T.;
G.I., G.C.,
I.L. and A.T.; investigation,
post-processing G.I., G.C.
data, and
S.S., A.T.;
G.I., measurements
G.C. and A.T.; data G.I., G.C., I.L.
curation, S.S.,and A.T.;
G.I., G.C.,software
I.L. andG.I., G.C., I.L.
and A.T.; draft
A.T.; writing—original post-processing
preparation, data,
S.S.,S.S.,
G.I.,G.I.,
G.C.,G.C.
I.L. and
and A.T.;
A.T.; data curation, S.S.,
writing—review andG.I., G.C., I.L. and A.T.;
editing,
writing—original draft preparation, S.S., G.I., G.C., I.L. and A.T.; writing—review
S.S., G.I., G.C., I.L. and A.T.; visualization, G.I., G.C. and A.T.; supervision, G.I., G.C. and A.T.; ref- and editing, S.S.,
G.I., G.C., I.L. and A.T.; visualization, G.I., G.C. and A.T.; supervision, G.I.,
erences study, S.S., G.I., G.C., I.L. and A.T. All authors have read and agreed to the published ver- G.C. and A.T.; references
study,
sion of the manuscript. S.S., G.I., G.C., I.L. and A.T. All authors have read and agreed to the published version of
the manuscript.
Funding: This research received no external funding.
Funding: This research received no external funding.
Conflicts of Interest: The authors declare no conflict of interest.

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