Germanico, Aulo Cecina Severo e il teatro di Volterra Patrizio Pensabene

2020 
espanolCon esta contribucion, quisimos resaltar como el acto evergetico relacionado con la construccion de un teatro es parte del camino politico de los personajes de las aristocracias locales, especialmente en el caso de que fueran homines novi: es un acto que manifiesta la adhesion al emperador. y en el estado romano por un personaje que quiere consolidar su carrera. La imagen concreta de esta adhesion es el ciclo de estatuas de la familia imperial exhibidas en el teatro. En Volterra, los mecenas del teatro pertenecen a la familia local Caecina, de probable origen etrusco, que obtienen acceso al Senado y al cargo de consul a traves del constructor de teatro, A. Cecina Severo. Este ultimo se convirtio en parte del sequito politico-militar del Emperador que lo coloco junto a Tiberio durante las campanas militares en Alemania y 0an-ocia. Tambien fue flanqueado al mando por Germanico con motivo de la segunda guerra dalmata con la que compartio la ornamenta triumphalis decretada por el emperador. Los episodios contados por fuentes relacionadas con Cecina durante los anos en que estuvo al mando de legiones en las guerras germanica y dalmata demuestran su fuerza de caracter y sus habilidades organizativas, tanto que Germanico tambien le confio Ja tarea de controlar la construccion de la flota naval en el Rin. En la ultima parte de esta contribucion, queriamos resaltar la importancia financiera politica y social de la construccion de un teatro por la mayoria de los lugarenos en una ciudad romana entre el siglo I a. C. y AD, la complejidad de las operaciones tecnicas necesarias para la construccion y aun la importancia de la presencia de trabajadores y talleres locales e itinerantes que debian construir fisicamente el edificio y darle las Venustas y la decoracion que se adaptaban a un monumento de este tipo. EnglishWith this contribution we wanted to highlight how the evergetic act relating to the construction of a theater is part of the political path of local aristocracies, especially in the case that they were homines novi lit is an act that manifests the adhesion to the emperor and in the Roman state by a character who wants to consolidate his career. The concrete image of this adhesion is the cycle of statues of the Imperial family, exhibited in the theater. In Volterra the patrons of the theater belong to the local Caecina family, of probable Etruscan origin, who gain access to the Senate and the position of consul through the theater builder, A. Caecina Severus. The latter became part of the political-military entourage of the Emperor who placed him alongside Tiberius during the military campaigns in Germany and Dalmatia. He was also flankecl in command by Germanicus on the occasion of the second Dalmatian war with which he shared the ornamenta triumphalis decreed to them by the emperor. The episodes told by sources related to Caecina during the years in which he was in command of legions in the Germanic and Dalmatian wars demonstrate his strength of character and his organizational skills, so much so that Germanicus also entrusted him with the task of controlling the construction of the naval fleet on the Rhine. In the last part of this contribution we wanted to highlight the political and social financial significance of the construction of a theater by the majority of locals in a Roman city between the first century BC. and I AD, the complexity of the technical operations necessary for the construction and still the significance of the presence of local and itinerant workers and workshops that were to physically construct the building and give it the venustas and decor that suited a rnonurnent of this type.
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