There were fewer amphitheaters in the Greek world because they adapted existing Greek theaters and stadiums for gladiatorial games. This was likely due to a cultural desire to integrate Roman spectacle into traditional Greek spaces, rather than a lack of interest or resources.
Greek gladiators chose names from Greek mythology and epic tales, such as Achilles, Heracles, and Jason, to connect their profession with the heroic and legendary battles that were deeply embedded in Greek culture and education.
Greek gladiators and their audience viewed gladiatorial combat with more pride and respect. Unlike the Roman infamia, where gladiators were social outcasts, Greek gladiators often boasted about their achievements and were spoken of as warriors of Ares and heroes, reflecting a cultural appreciation for competition and skill.
Greek cities adapted their theaters and stadiums for gladiatorial games to create a blend of Roman spectacle with traditional Greek settings. This adaptation allowed them to maintain their Greek cultural identity while embracing the entertainment and athletic competitions of the Roman era.
The Greeks preferred to hold gladiatorial games in theaters and stadiums because these venues were already culturally significant and multi-purpose. By adapting them, the Greeks could integrate Roman spectacle into their existing architectural and cultural landscape, maintaining a sense of Greekness.
There is a lack of detailed academic discussion about gladiatorial adaptations in Greek theaters and stadiums because many archaeologists and historians are reluctant to acknowledge the violent history of these venues, especially those that hosted great tragedies. This reluctance has led to a limited publication of relevant evidence.
Antiochus IV put on a gladiatorial show in 166 BCE after seeing gladiatorial games in Rome. He aimed to impress the Greek East by making the show even larger and more extravagant than any seen in Rome at that time, with 240 pairs of gladiators.
Female gladiators are rarely mentioned in historical sources because their participation was likely very rare and often forced, such as in Nero's games. Most mentions are from satires or brief references, and there is limited concrete evidence of professionally trained female gladiators.
The Greeks continued to perform traditional plays in theaters adapted for gladiatorial games because these venues were multi-purpose. The adaptations were often temporary, allowing the theaters to serve both as venues for drama and for spectacle, reflecting the Greeks' cultural adaptability and their love for both intellectual and violent entertainment.
This episode originally aired in September 2023. Liv speaks with Alexandra Sills who studies spectacle! and, specifically: when Gladiators went to Greece... They talk mythologizing gladiatorial games, adapting things (splash zone!) and even, the evidence for women fighting in games. Read more from Alexandra at Bad Ancient) and Working Classicists). Help keep LTAMB going by subscribing to Liv's Patreon for bonus content!)
CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.
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