http___merlinpula.hr_povijest-rimske-pule.html_1.xml
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City of Pula on the southwestern end of the Istrian peninsula developed, like Rome, beneath seven hills (Kastel, Zaro, Arena, St. Martin. St. Michael's Abbey, Mondipola and Pragrande), in the inner part of a wide sea gulf and a naturally well-protected port, which is open to the northwest with two entrances: directly from the sea and through Fazana channel. City of Pula today covers the area of fifty square kilometers and has approximately fifty-nine thousand inhabitants. In the North, this area is bordered by islands St. Jerolim and Kozada, urban areas of Stinjan, Veli Vrh and Sijana forest; in the East with Monteserpo, Valmade, Busoler and Valdebek area; in the South with the Old Gasworks and Veruda area, and Island Veruda; and in the West with Verudela, Lungomare and Musil coastal area. Pula, the classic city of the Adriatic, the Mediterranean and Europe, springs up from the poetry of the Argonaut myth of Jason and Medea ("City of Fugitives, but in their tongue they called it Polae."), the adventurous legends about the search for the Golden Fleece. Pula is hiding three thousand years of stability in its foundations (literally bellow each inch of its ground), and in the prehistoric settlement on the Kastel hill, in Histrian necropolis whose remains clearly speak about long life of the city. A comprehensive urban shaping of Pula starts in antiquity, after the Romans defeated Histrians in the year 117 BC, when they founded Roman colony (Pietas Iulia) during Caesar era (mid-first century BC). Colony reached its peak and greatness during the reign of Septimius Severus, at the end of II. and early III. century, when it had about thirty thousand inhabitants or more, and was considered, together with Salona (the Roman capital of Dalmatia), as the largest settlement on the east coast. After the fall of the Western Roman Empire (late fifth century), Pula and its urban life and population growth were practically numb for almost fourteen centuries, changing rulers and waiting for new period of urbanity... During the period of Roman rule, especially the imperial period, Pula as a commercial and administrative center takes permanent urban stamp of Roman concept of town, with regular rectangular houses, cobbled streets and squares (Forum), sewage, insulas, walls, city gates ... This was the period when most significant monuments of Roman antiquity were built in the northern part of the Adriatic: Amphitheater, Kaptolij, The Temples of Agustus and Diana, Triumphal Arch, Gate of Hercules, Twin Gates, Small and Great Roman theater. Construction of the amphitheater began in the time of Emperor Augustus, it continued and spread in the reign of Emperor Claudius and was concluded in the expanded form in the reign of Vespasian. Historical legend says that Emperor Vespasian constructed this magnificent amphitheater called Arena in a not so significant Roman province, in honor of and wanting to impress Antonia Cenida, his charming lover who was born in Pula. Thanks to this deep love of Vespasian, Arena can today be with no modesty compared to the Colosseum in Rome, or the Arena in Verona, amphitheaters in Pompeii or those in Nimes and Arles in France. The outer wall of amphitheater in Pula has an elliptical shape with the major axis (north-south), which is 130 m long, and the shorter axis (east-west), which is 100 meters long, and it is almost completely preserved (unlike the above mentioned) with two rows of arches, each having 72 arches and a series of rectangular slots above them, and the four towers for the access to the top, where velarium used to be stretched (cloth which protected the audience from the sun). As any other amphitheater, this one also consists of three basic parts: area for spectators that could hold twenty thousand people, the arena and underground areas. The main purpose of the Arena was the same as it is today - the entertainment and social events where people wanted to be seen and where they could see new hairstyles, clothes, jewelry, women, men ... but the most important entertainment were gladiatorial games. Gladiator fights consisted of a series of duels between the opposing pairs. Gladiators were specially trained for various types of combat, where they used special weapons and techniques. After the introduction, followed by music performances in which they emphasized the most important parts of the show, the games would began. The duels between several pairs of gladiators took place at the same time. Those who stayed alive and could not continue the fight, would lay down their arms and request mercy by raising hands. The judgment of life and death was made by the emperor, and it usually coincided with the demand of the crowd that cried Mitte (Release him) or Lugula (Kill him). Gladiators were mostly recruited from slaves, war prisoners or prisoners sentenced to death, but also from some free people who most probably chose that trade forced by famine. One of the other popular entertainments in the amphitheater was hunting and slaying of wild animals (venatio). Animals would be first kept a long time in the dark, where they were starved and then released into the arena. Their death had to be spectacular, therefore Romans organized a variety of shows, bullfights or fights with rhinos, or with various other animals, or animals chased the unarmed people. Animals were eventually and inevitably ruthlessly dismembered. The backdrops for these performances were carefully crafted as they had to reconstruct the natural environment of wild animals. In addition to Arena, Roman Pula also had two theaters, the Great Theater out of town, on the southern slope of the hill of Monte Zaro, which was completely destroyed in the 17th century (the stones were used for the construction of Venetian castle), and other small Roman Theater within the city walls (which was accessed directly from the street, through the Twin Gates) on the northeastern foothill of Kastel clearing, of which today still exist the remains of the stage building and parts of the audience. Roman theater was initially inspired by the myths and was exaggeratedly realistic. Very often in the dramatic situation which had to show the death, a convict sentenced to death would take the place of the actor, or Trojan walls would be really burned down, and even the debauched scenes with women who were convicted by the courts for crimes were not lacking. The Roman theater, same as Greek theater, was a privileged place where the rules of morality and decency did not apply. With the advent of coarse comedy Atellana, new theater developed, with props, masked actors, singers, acrobats and mime who sing, dance, act and recited to the accompaniment of harp, flute and other instruments. Farce of everyday life were acted out in Latin, steeped with local dialects. Atellana constituted of several stereotypical roles: Macchus (a Pulcinella-type figure), Bucco (the fat man), Manducus (a greedy clown), Samnio (a Harlequin-type figure), and Pappus (a doddery old man). Actors and singers could, without fear of consequence, let go with wild and sometimes obsessive comments, not respecting the people or gods. The audience recognized the characters by their masks, therefore the same actor could play multiple roles, but women were not allowed to be an actress. A new form of play developed, with a distinctive pantomime which was necessary for the huge crowd that could not clearly hear the words spoken in the open. Pantomime and simple texts depicted the tragic mythological content, while mime was used to present the comic and erotic motifs painted with political and social satire. Satirical song, dithyramb, was sung in praise of good wine, and in the Roman theater in Pula it was most probably sung for the glory of fragrant Malvasia. The development of masks in the Roman theater progressed from simple white paint on the face, to the mask made of white linen, and finally to plaster casts painted with vivid natural colors of the earth, crushed rocks, flowers ... Actors often used imaginative masks inspired by the moments of ecstasy (sadness, despair, elation, laughter, pleasure ...) therefore representing the relationship and connection between life and death that simultaneously connected and separated the two worlds. Different types of masks were inspired by the worship of the gods, especially Dionysus (Bacchus) - the god of the joys of life, fertility, wine, lust, sociability, partying ... Likewise, the warped face masks were inspired by animal heads, muzzles and positions in order to display all sorts of human sentiment, resulting in masks with distorted nos, long ears, fat lips, distorted lips, goggle-eyes, and other similar motifs on masks. Author: Miodrag Kalčić
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Grad Pula na jugozapadnom kraju Istarskog poluotoka, razvio se, poput Rima, podno i na sedam brežuljaka (Kaštel, Zaro, Arena, Sv. Martin, Opatija sv. Mihovila, Mondipola i Pragrande), na unutrašnjem dijelu prostranoga zaljeva i prirodno dobro zaštićene luke koja je otvorena prema sjeverozapadu s dva prilaza, neposredno s mora i kroz Fažanski kanal. Današnja Pula (omeđena je sa sjevera otocima Sv. Jerolim i Kozadom, gradskim naseljima Štinjan, Veli Vrh i Šijanskom šumom; s istoka područjima Monteserpo, Valmade, Busoler i Valdebek; s juga Starom Plinarom, marinom Veruda i otokom Veruda; te sa zapada Verudelom, Lungomareom i Musilom) na površini pedesetak četvornih kilometara broji približno pedeset i devet tisuća stanovnika. Pula, klasičan grad Jadrana, Mediterana i Europe, izvire iz poetike argonautskoga mita o Jasonu i Medeji ("Grad bjegunaca, no njihov ga jezik imenova Pulom"), iz pustolovne legende o potrazi za otetim zlatnim runom. Pula krije tritisućljetnu postojanost u svojim temeljima (doslovce ispod svakoga pedlja zemlje), u pretpovijesnom gradinskom naselju na brežuljku Kaštel, u histarskoj nekropoli čiji ostaci bjelodano pripovijedaju dugo trajanje grada. Cjelovito urban(ističk)o uobličavanje Pule započinje u antici, nakon što su Rimljani 117 godine prije Krista porazili Histre, osnutkom rimske kolonije (Pietas Iulia) u Cezarevo doba (sredinom I. st. prije n. e.) da bi najveći uspon doživjela za vladanja Septimija Severa, krajem II. i početkom III. stoljeća, kada broji tridesetak i više tisuća stanovnika, pa je uz Salonu (glavni grad rimske Dalmacije) Pula slovila kao najveće naselje na istočnoj obali Jadrana. Propašću Zapadnoga rimskog carstva (potkraj V. st.) Pula je gotovo četrnaest stoljeća urbano i populacijski umrtvljena, mijenjajući vladare, i čekala novo razdoblje gradskosti... U razdoblju rimske vlasti, napose carskoga razdoblja, Pula kao trgovačko i upravno središte poprima trajni urbani pečat rimske koncepcije grada s pravilnim četverokutnim kućama, popločenim ulicama i trgovima (Forum), kanalizacijom, insulama, zidinama, gradskim vratima... Tada nastaju najznačajniji spomenici rimske antike sjevernoga dijela Jadrana: Amfiteatar, Kaptolij, Agustov i Dijanin hram, Slavoluk Sergijevaca, Herkulova vrata, Dvojna vrata, Malo i Veliko rimsko kazalište. Gradnja Amfiteatra započinje za vrijeme cara Augusta, dograđuje za vladavine cara Klaudija a konačni, prošireni oblik poprima u razdoblju Vespazijana. Povijesna predaja (i legenda) kazuje kako je upravo car Vespazijan u čast svoje zanosne ljubavnice Puljanke Antonije Cenidi, želeći zadiviti prelijepu Antoniju, podigao tako velebnu Arenu u, ipak ne toliko značajnoj, rimskoj provinciji. Zahvaljujući dubokoj zaljubljenosti Vespazijana danas pulsku Arenu možemo bez imalo skromnosti uspoređivati s Kolosejem u Rimu, ili Arenom u Veroni, amfiteatrima u Pompejima ili onima u Nimesu ili Arlesu u Francuskoj. Vanjski zidni plašt pulskog amfiteatara, eliptična oblika s glavnom osi (sjever-jug) dužine 130 metara i kraćom osi (istok-zapad) dužine 100 metara, gotovo je potpuno sačuvan (za razliku od spomenutih) s dva reda lukova, po 72 u svakom nizu i četvrtastih otvora iznad njih, i četiri tornja za prilaz vrhu gdje se rastezao velarij, platno kojim se štitilo gledateljstvo od sunca. Kao svaki amfiteatar sastoji se od tri osnovna dijela: prostora za gledanje koje je moglo primiti dvadeset tisuća znatiželjnika, borilišta i podzemnih prostora. Osnovna namjena Arene bila je kao i danas zabava, društveni događaj na kojemu treba biti viđen i na kojemu treba vidjeti nove frizure, odjeću, nakit, žene, muškarce... a najzračnija zabava bile su gladijatorske borbe. Gladijatorske borbe sastojale su se od niza dvoboja između protivničkih parova. Gladijatori su bili posebno obučeni za razne tipove borbi u kojima se koristilo posebno oružje i tehnike. Nakon uvodnih predstava praćenih glazbom u kojima su se naglašavali najvažniji dijelovi predstave, započele bi igre. Dvoboji između nekoliko parova gladijatora odvijali su se istodobno. Oni koji su ostali živi, ako nisu mogli nastaviti borbu, odložili bi oružje i podizanjem ruke zatražili milost. Presudu o životu i smrti donosio je car, a ona se obično podudarala sa zahtjevom svjetine koja bi vikala: Mitte (Otpusti ga) ili Lugula (Pogubi ga). Gladijatori su bili robovi, ratni zarobljenici ili zatvorenici osuđeni na smrt, ali i neki slobodni ljudi koje je tom užasnom zanatu najvjerojatnije nagnala glad. U amfiteatru je bio popularan i lov na divlje zvijeri (venatio). Životinje bi se, nakon dugog vremena provedena u mraku i izgladnjivanju pustile u arenu. Njihova je smrt morala biti spektakularna, pa su se zbog toga organizirale raznovrsne predstave, borbe s bikovima ili nosorozima, borbe različitih životinjama ili potjere životinja za nenaoružanim ljudima, a životinje bi na kraju bile nemilosrdno i neminovno raskomadane. Kulise su se pomno izrađivale kako bi se u amfiteatru rekonstruiralo prirodno okružje divljih životinja. Rimska je Pula pored Arene imala i dva kazališta, Veliko izvan grada, na južnoj padini brežuljka Monte Zaro koje je potpuno uništeno u 17. stoljeću (kamenje je iskorišteno za gradnju mletačkih kaštela), i drugo Malo rimsko kazalište, unutar gradskih zidina (do kojeg se izravno dolazilo ulicom kroz Dvojna vrata) na sjeveroistočnoj podnožju proplanka Kaštel, od kojega su sačuvani ostaci temelja scenske zgrade i dijelovi gledališta. Rimske su kazališne predstave u početku bile nadahnute mitovima i prenaglašeno realistične. Nerijetko bi u dramskoj situaciji koja prikazuje smrt, neki osuđenik na smrt preuzeo mjesto glumca, ili bi se zapaljene trojanske zidine pretvarale u pravi požar, a nisu izostajale ni razbludne scene žena koje je sud osudio zbog zločina. Rimsko je kazalište, kao i grčko, bilo povlašteno mjesto gdje nisu vrijedila pravila ćudoređa i pristojnosti. Pojavom grube komedije Atellana nastaje kazalište s kulisama, maskiranim glumcima, pjevačima, akrobatima i mimičarima koji pjevaju, plešu, glume i recitiraju uz pratnju citra, frula i ostalih glazbala. Farse iz svakidašnjeg života glumile su se na latinskom jeziku prožetom lokalnim dijalektizmima. Atellanu su tvorile četiri stereotipne uloge: Mako lakrdijaš, Buko debeli glupan, Papo smiješni starac i Dosen proždrljivac. Glumci i pjevači mogli su, bez straha od posljedica, dati si oduška divljim i katkad opsesivnim komentarima ne poštujući ni ljude ni bogove. Gledatelji su likove prepoznavali po maskama, tako da je isti glumac mogao igrati više uloga, međutim žene nisu smjele biti glumice. Razvio se oblik predstave s naglašenom pantomimom što je bilo neophodno za brojnu publiku koja nije mogla razgovijetno čuti riječi izgovorene na otvorenom prostoru. Pantomima je s jednostavnim tekstovima prikazivala tragične mitološke sadržaje, dok su mimikom prikazivani komični i erotični motivi obojani političkom i društvenom satirom. Satirična pjesma, ditiramb, pjevana je u slavu dobroga vina, a na pulskim rimskim daskama vjerojatno u slavu mirisne malvazije. Razvoj maski u rimskom teatru tekao je od jednostavna bojanja lica bijelom bojom, preko maske od bijeloga lanenog platna do gipsanih odljeva obojanih živim prirodnim bojama zemlje, mljevenog kamenja, cvijeća... Glumci su najčešće koristili maštovite maske inspirirane trenucima ekstaze (tuge, očaja, ushićenja, smijeha, zadovoljstva...) predstavljajući tako suodnos i povezanost života i smrti koja istodobno spajala i dijelila dva svijeta. Različiti tipovi maski inspirirani su i iz štovanja bogova, napose Dioniza (Bakha) – boga životnih radosti, plodnosti, vina, požude, druželjubivosti, razuzdanosti... Jednako tako maske sa izvitoperenim licem nadahnute su životinjskim glavama, njuškama i položajima kako bi prikazale svakojaka ljudska raspoloženja pa nastaju krivonosi, dugouhi, krivousni, debelousni, razgoračeni i slični motivi na maskama. Autor: Miodrag Kalčić