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Vomitorium
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Vomitorium at the Amphitheatre of Pompeii in Pompeii

A vomitorium is a passage situated below or behind a tier of seats in an amphitheatre or a stadium through which large crowds can exit rapidly at the end of an event. They can also be pathways for actors to enter and leave stage.[1] The Latin word vomitorium, plural vomitoria, derives from the verb vomō, vomere, "to spew forth". In ancient Roman architecture, vomitoria were designed to provide rapid egress for large crowds at amphitheatres and stadia, as they do in modern sports stadia and large theatres.[2]

Modern examples

[edit]
Rendering of a vomitorium

Smock Alley Theatre in Temple Bar, Dublin, has two vomitoria, one stage left and one stage right, as does the Stratford Festival in Stratford, Ontario, Canada.[3] The Oregon Shakespeare Festival, for instance, has vomitoria in two of its theatres, the outdoor Elizabethan Stage and the Angus Bowmer Theatre. The "voms", as they are called, allow actors to mount the stage from halls cut into the amphitheatre. The Guthrie Theatre in Minneapolis, Minnesota, has two permanent vomitoria, one at stage left and one at stage right, of its thrust stage. The Circle in the Square Theatre, designed to reflect the theatres of ancient Greece and Rome, is the only Broadway theatre that has a vomitorium, which is still used in many of its productions as an entrance and exit for the actors.

The Cockpit Theatre, built in London in the 1960s, is one of the very few purpose-built theatres in the round in London, and features four vomitoria as corner entrances between four banks of raked seating arranged in a square.

The Chichester Festival Theatre, founded in 1962, was the first of its kind to be opened in the United Kingdom for 500 years, because there is no proscenium arch or wings. Instead, there is a thrust stage with vomitoria or "voms" for the audience and performers to enter and exit.[4]

In addition, the Mark Taper Forum, one of the three theatres making up the Los Angeles Music Center, has two vomitoria. It has a strong thrust stage such that the audience sit in an amphitheatre-type array.

Winnipeg's second-largest theatre, Prairie Theatre Exchange, has two vomitoria on either side of its thrust stage, with seating on three sides.

The Space Theatre at the Denver Center for the Performing Arts is a theatre "in the round" with a pentagon configuration. It contains five vomitoria spaced 72 degrees apart, creating five equal seating sections.

Historical notes

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References

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Vomitorium

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from Grokipedia
A vomitorium (plural: vomitoria) is an architectural feature in ancient Roman amphitheaters and theaters, consisting of passageways or tunnels that connect the exterior to the seating areas, enabling large crowds to enter and exit rapidly and efficiently. These structures were essential for managing audiences of up to 50,000 or more, as seen in venues like the in , which featured 76 numbered vomitoria to facilitate filling or emptying the arena in under 15 minutes. The term derives from the Latin verb vomere, meaning "to spew forth" or "to vomit," metaphorically describing how the passages allowed spectators to "pour out" into their seats or flow out en masse after events. This usage first appears in the 5th-century AD text by , where he refers to the vomitoria as openings through which crowds could "spew forth" into the theater. In Roman design, vomitoria were typically wide corridors branching from main entrances, often arched and integrated into the cavea (seating tiers), promoting safety and order during spectacles such as gladiatorial combats or theatrical performances. A persistent misconception portrays the vomitorium as a dedicated in Roman homes or halls for inducing to extend feasting, but no ancient supports this; the idea arose in the from misinterpretations of Roman excess described in sources like Petronius's Satyricon and Suetonius's Lives of the Caesars, later popularized in 20th-century literature such as Aldous Huxley's Antic Hay (1923). While Romans did practice emesis at lavish symposia to consume more food and wine, as noted by Seneca, this occurred in dining spaces rather than specialized chambers. Today, the term occasionally appears in modern stadium architecture to denote similar crowd-flow passages, underscoring its enduring practical legacy.

Etymology

Linguistic Origins

The term vomitorium (singular) and vomitoria (plural) originates from Latin, derived from the verb vomō (infinitive vomere), meaning "to vomit," "to spew," or "to discharge forcefully." This root metaphorically evokes the image of crowds pouring out en masse from a structure, akin to a sudden expulsion. The word was applied specifically to architectural passages in public venues, emphasizing their role in facilitating rapid egress rather than any literal association with vomiting. The earliest attested use of vomitoria appears in the Saturnalia by the late Roman writer (c. 430 CE), where it describes the exit passages of theaters that allow audiences to disperse quickly after performances. In Book 2, Chapter 7, explains these features as originating from designs that enable "people entering in a mass to disperse into their seats," but the term is used in the context of outflow, highlighting the efficiency of crowd movement. This usage marks the term's initial architectural connotation in surviving , predating its broader adoption. Morphologically, vomitorium breaks down into the root vom- from vomere, denoting expulsion or ejection, combined with the suffix -itorium. This suffix, a neuter noun ending common in Latin, denotes a place or instrument associated with the action of a verb, often derived from the frequentative form vomitare ("to vomit repeatedly"). Similar formations include auditorium (place for hearing) and scriptorium (place for writing), underscoring vomitorium's function as a designated space for "spewing forth" people.

Semantic Evolution

The Latin term vomitorium, derived from the verb vomō ("to spew forth"), initially appears in late antique texts to describe passageways that allowed crowds to exit structures en masse, metaphorically likened to out spectators. The term's earliest known use is in ' Saturnalia (c. 430 CE), where it describes amphitheater exits releasing waves of people. During the , scholars and architects revived classical terminology in Latin treatises on antiquity, broadening the term beyond theaters to general crowd-flow corridors in forums and basilicas, as seen in commentaries on Roman ruins. This continuity in usage facilitated its transmission without significant semantic shift, maintaining focus on functional egress over the original physiological imagery. The term entered English in the mid-18th century, with "vomitorium" first attested in in English dictionaries to describe exit passages in ancient venues. By the , the English Dictionary's entry (first compiled in supplements from 1928 onward) defined it neutrally as an architectural feature for rapid crowd exit in amphitheaters and theaters, largely detaching from the visceral "spewing" in favor of practical dispersal connotations. The term persists in modern theater for similar passageways.

Architectural Definition

Structure and Design

In , a vomitorium typically took the form of a or arched passageway linking exterior to the interior seating areas of amphitheaters and theaters, enabling efficient crowd circulation. These passages measured approximately 3 to 5 meters in width, with vaulted ceilings providing structural integrity and sufficient headroom for rapid pedestrian flow. Within the radial layout of amphitheaters, multiple vomitoria were symmetrically arranged to correspond with the tiered seating structure, or cavea, allowing spectators to access specific sections without congestion. In major venues like the , 76 such passages radiated outward from the central arena, aligning with the ima, media, and summa cavea tiers to distribute audiences evenly across the elliptical design. Vomitoria were constructed using opus caementicium, composed of (), lime, and rubble aggregate, which ensured long-term durability under heavy use. To further enhance flow, many featured stepped entrances that transitioned smoothly between street level and seating tiers, minimizing bottlenecks during entry and exit. The term itself evokes the image of crowds "spewing" forth from the structure, akin to the Latin root vomere.

Functional Purpose

The primary function of vomitoria in ancient Roman amphitheaters and theaters was to serve as efficient egress routes, enabling the rapid evacuation of large crowds to enhance safety and prevent chaos during events. These passageways were engineered to allow thousands of spectators to exit simultaneously without bottlenecks, with designs calculated to clear venues in mere minutes; for instance, the Colosseum's 76 vomitoria facilitated the departure of its 50,000 attendees in under 15 minutes. This efficiency stemmed from Roman principles of , where multiple converging paths and angled approaches directed flow outward from seating areas, minimizing congestion and ensuring orderly dispersal even in emergencies. In addition to egress, vomitoria supported ingress, permitting swift entry of audiences to fill seats quickly before performances began, often achieving full capacity in 15 minutes or less for major venues. The engineering rationale behind these features emphasized practicality and scale, with vaulted constructions supporting radial layouts that fanned out from the or stage to distribute crowds evenly. This approach reflected broader Roman innovations in public architecture, prioritizing mass movement over individual paths to accommodate spectacles drawing tens of thousands.

Historical Context

In Ancient Roman Venues

Vomitoria emerged as key architectural features during the late , particularly with the construction of early permanent amphitheaters and theaters designed to accommodate large public gatherings. The earliest known example appears in the Amphitheater of Pompeii, built around 70 BCE, which could hold up to 20,000 spectators attending gladiatorial contests and other spectacles. Similarly, the Theatre of , completed in 55 BCE as Rome's first permanent theater, managed audiences of approximately 17,000 for dramatic performances and public events, marking a shift from temporary wooden structures to more enduring designs. These innovations reflected the growing scale of Roman entertainment venues amid the Republic's political turbulence, where such buildings served as tools for and social cohesion. In the Imperial era, vomitoria became standardized elements in grander structures like the (Flavian Amphitheater), completed in 80 CE, where 76 such passages enabled the rapid filling and emptying of 50,000 seats in under 15 minutes during gladiatorial games, venationes (animal hunts), and naumachiae (mock sea battles). This efficiency was essential for maintaining order among massive crowds, preventing bottlenecks and allowing uninterrupted spectacles that could last hours or days, thus underscoring Roman engineering prowess through the use of vaults and radial corridors. The design not only optimized logistics but also highlighted the logistical demands of hosting events for diverse urban populations, with passages often connecting directly to street-level arcades for seamless integration with the surrounding cityscape. Socio-culturally, vomitoria symbolized the Roman state's control over public assembly and spectacle, stratifying access by to reinforce hierarchical norms. patrons entered through designated vomitoria leading to prime seating, while lower classes used peripheral passages, a system that mirrored broader imperial efforts to manage and pacify the populace through organized . This architectural choice facilitated the regime's , as efficient crowd dispersal after events minimized unrest and allowed for the swift transition to other civic activities, embodying the Republic's evolution into an where public venues became instruments of and imperial authority.

Examples from Antiquity

The Flavian Amphitheatre, commonly known as the , built between 70 and 80 CE in , represents a pinnacle of Roman engineering in incorporating vomitoria for crowd management. This massive structure utilized 76 vomitoria across its four tiered levels to serve an audience of up to 50,000 spectators, allowing for efficient ingress and egress during events such as gladiatorial contests and public spectacles. The design's effectiveness is evidenced by simulations indicating that full evacuation could occur in approximately 10-13 minutes, a feat attributable to the wide passages and radial layout that minimized congestion. Earlier examples include the , constructed around 70 BCE, which facilitated access for its estimated 20,000 spectators. These passages, integrated into the structure's earthen embankment and masonry elements, supported the venue's use for gladiatorial games and other entertainments until the catastrophic eruption of in 79 CE buried the site, preserving it for modern archaeological examination and revealing details of early design. In provincial settings, the in , erected in the 1st century CE, employed a network of galleries and 126 staircases functioning as vomitoria to handle crowds of about 24,000, demonstrating the adaptation of this architectural feature beyond . Similarly, the Theatre in modern-day , dating to the 2nd century CE, incorporated vomitoria tailored for theatrical performances, with vaulted passages enabling swift movement of up to 7,000 audience members while maintaining acoustic integrity and stage access.

Modern Applications

In Contemporary Theaters

In contemporary theaters, vomitoria serve primarily as strategic passageways in and configurations, facilitating actor entrances and exits that enhance immersive by integrating performers directly into the space. These openings, positioned beneath or behind seating tiers, allow for dynamic transitions that blur the boundary between and spectators, promoting a of immediacy in performances. Unlike their ancient counterparts, modern implementations prioritize theatrical flow over mass evacuation, though they retain functional egress principles for safety. A prominent example is the in , opened in 1963, which features two permanent vomitoria flanking its —one at stage left and one at stage right—designed by scenic architect Tanya Moiseiwitsch under the guidance of director Tyrone Guthrie. These vomitoria enable actors to enter from below the seating, supporting flexible staging for productions that require fluid movement and encirclement, as seen in the theater's 1,100-seat Wurtele Thrust Stage auditorium. The design draws from Elizabethan influences to foster intimacy, allowing performers to "reach out" into the crowd for heightened dramatic effect. Similarly, the in the , which debuted in 1962 as the nation's first modern venue, integrates multiple vomitoria around its central 1,300-seat auditorium to accommodate both cast and audience access. These passages, visible in archival photographs of the original interior, function as key elements of the thrust configuration, enabling actors to emerge unexpectedly amid spectators for productions emphasizing communal viewing, such as those directed by in the inaugural season. The vomitoria support rapid transitions in plays like , enhancing the venue's reputation for innovative, actor-audience proximity. The Circle in the Square Theatre on Broadway, originally established in 1951 and relocated to its current thrust-stage space in 1972, incorporates a single vomitorium inspired by and Roman designs, making it the only such feature among Broadway houses. This passageway allows for intimate actor entrances in its approximately 700-seat auditorium, ideal for experimental and chamber productions that thrive on close-quarters interaction, such as revivals of works by . The vomitorium's placement beneath the U-shaped seating reinforces the theater's focus on enveloping the audience in the action. Modern adaptations of vomitoria in these theaters employ durable materials like framing for structural integrity, enabling seamless integration with contemporary building codes while supporting loads from elevated seating. Acoustic considerations are paramount, with linings such as profiled panels or absorbent composites installed in the passages to diffuse reflections and prevent echoes that could disrupt clarity during performances. These designs typically accommodate access for 200-500 patrons per vomitorium in mid-sized venues, balancing rapid audience flow with minimal visual intrusion on vista.

In Stadiums and Arenas

In modern stadiums and arenas, vomitoria serve as wide, radial corridors that connect seating bowls to perimeter concourses, enabling the efficient movement of tens of thousands of spectators to prevent congestion and support rapid evacuation during emergencies. These features are scaled for high-capacity venues, where they function as primary pathways for ingress before events and egress afterward, drawing on the ancient Roman concept of vomere (to spew forth) while adhering to contemporary standards for dynamics. Wembley Stadium in London, completed in 2007 and designed by Populous, exemplifies this application with its integrated vomitoria tunnels that facilitate the safe evacuation of up to 90,000 attendees in compliance with UK building regulations and international fire safety guidelines. The stadium's bowl-shaped layout positions these passages between seating tiers, allowing radial flow to outer circulation areas and minimizing bottlenecks for football matches, concerts, and other large gatherings. Madison Square Garden in New York, following a $1 billion renovation finalized in 2013, features expanded concourses and improved egress routes to manage crowds of approximately 20,000 for basketball games and entertainment events. The upgrades provide direct access from upper seating levels to street-level exits, thereby enhancing overall circulation and reducing evacuation times. The Tokyo Dome in Japan, opened in 1988 as the country's first domed baseball stadium, utilizes multiple vomitoria to handle peak crowds of around 55,000 during Yomiuri Giants games and other events. These passages are strategically placed around the circular seating arrangement, supporting high-volume spectator flow while integrating with the venue's multi-purpose infrastructure for concerts and exhibitions. A more recent example is in , opened in 2020, which incorporates advanced vomitoria systems as part of its design for 70,000 spectators (expandable to 100,000). These passages enable efficient crowd flow in line with NFPA standards, contributing to its recognition for innovative architecture. Modern vomitoria designs in such venues are heavily influenced by regulatory frameworks like the (NFPA) 101 Life Safety Code, which mandates sufficient egress width for assembly occupancies—typically 0.2 inches per person for level components such as corridors and doors—to achieve safe evacuation flow rates, often calibrated to clear a stadium in under 8 minutes depending on total capacity.

Common Misconception

Origins of the Myth

The misconception that a vomitorium was a dedicated room in for inducing vomiting during feasts originated from a literal misinterpretation of the Latin term vomitorium, derived from the verb vomere ("to vomit" or "to spew forth"), which in architectural contexts described passages allowing crowds to exit venues rapidly, like spewing from a . This linguistic confusion emerged prominently in the early , as fascination with linked the word's to tales of drawn from ancient sources like Seneca's moralizing letters on overindulgence at banquets. The earliest recorded misuse in English literature appears in Aldous Huxley's 1923 novel , which depicts a " vomitorium" in a Roman context of excess. No ancient Roman text or archaeological evidence supports the existence of such vomiting chambers, but the term's evocative root facilitated the error. This portrayal built on longstanding stereotypes of Roman luxury, amplified by earlier historians like in The History of the Decline and Fall of the (1776–1789), who, while correctly using "vomitories" to refer to theater exits, emphasized themes of imperial corruption and that later fueled misreadings. In the mid-20th century, the misconception was reinforced through influential works that depicted historical excess. Robert Graves's 1934 novel I, Claudius portrays scenes of unrestrained indulgence at elite Roman banquets, drawing on ancient satires like Petronius's Satyricon. Similarly, Federico Fellini's 1969 film adaptation of Satyricon includes graphic depictions of decadent meals, embedding images of Roman excess in popular imagination despite the factual inaccuracy of the vomiting room.

Cultural Persistence

The misconception of the vomitorium as a room dedicated to vomiting during Roman feasts continues to permeate contemporary media, often employed for comedic or dramatic effect. In the animated television series , the 2020 episode "" depicts a purging in a chamber explicitly called a "vomitorium," satirizing the enduring myth while highlighting its inaccuracy. This portrayal exemplifies how popular entertainment perpetuates the error, with similar references appearing in films, television, and literature that imagine indulgent Romans retreating to such spaces mid-banquet. In education, the myth persists due to gaps in formal curricula and reliance on secondary sources, leading to widespread belief among students and the general public. Although academic classicists have long debunked the notion, non-specialist materials, including some travel guides and introductory history texts, occasionally reinforce it by associating vomitoria with Roman excess without clarification. This endurance is evident in popular understanding, where the vomiting interpretation remains a common assumption despite scholarly corrections. Linguistically, the term vomitorium has been adopted into English since the mid-18th century to denote an architectural passageway, as defined in the , yet the misconception lends itself to idiomatic expressions evoking expulsion, such as crowds or information "vomiting forth" from venues. This figurative usage indirectly sustains the error by linking the word to imagery, though modern entries, including those from the 2000s onward, emphasize the correct architectural meaning to counter the .

References

  1. https://www.unrv.com/articles/myth-roman-vomitorium.php
  2. https://historycooperative.org/vomitorium/
  3. https://www.archaeology.wiki/blog/2017/01/27/really-vomitorium/
  4. https://www.alcor-equipements.com/en/stadium-vomitory/
  5. https://www.etymonline.com/word/vomitorium
  6. https://www.loebclassics.com/view/macrobius-saturnalia/2011/pb_LCL512.71.xml
  7. https://theconversation.com/mythbusting-ancient-rome-the-truth-about-the-vomitorium-71068
  8. https://www.oed.com/dictionary/vomitorium_n
  9. https://www.oed.com/dictionary/vomitory_n
  10. https://www.thecolosseum.org/architecture/
  11. https://www.academia.edu/6053159/Roman_Theatres_An_Architectural_Study
  12. https://www.history.com/news/vomitoriums-fact-or-fiction
  13. https://interestingengineering.com/culture/concrete-rome-colosseum-sustainability
  14. https://www.archdaily.com/1009781/what-is-a-vomitorium-25-modern-examples-of-efficient-traffic-management-in-public-buildings-and-venues
  15. https://www.history.com/articles/vomitoriums-fact-or-fiction
  16. https://www.researchgate.net/publication/358322816_Simulation_of_Evacuation_from_Stadiums_and_Entertainment_Arenas_of_Different_Epochs_on_the_Example_of_the_Roman_Colosseum_and_the_Gazprom_Arena
  17. https://penelope.uchicago.edu/encyclopaedia_romana/gladiators/pompeii.html
  18. https://www.avignon-et-provence.com/en/monuments/arena-nimes
  19. https://ancienttheatrearchive.com/theatre/aspendus-theatremodern-belkiz-turkey/
  20. http://passiton.cft.org.uk/archive/photograph-interior-auditorium-1962-2/
  21. https://dallastheatercenter.org/wp-content/uploads/2023/01/221219_KHT-Masterplan-Report_Volume-1_email.pdf
  22. https://www.guthrietheater.org/about-us/Our_Spaces/
  23. https://www.haworthtompkins.com/work/chichester-festival-theatre
  24. https://www.headout.com/blog/circle-in-the-square-theatre-seating-chart/
  25. https://playbill.com/article/revisit-productions-that-have-called-broadways-circle-in-the-square-home
  26. https://danylastchild07.files.wordpress.com/2016/05/auditoracoustics.pdf
  27. https://www.populous.com/showcases/wembley-stadium
  28. https://populous.com/showcases/wembley-stadium
  29. https://www.cnbc.com/2013/10/25/the-billion-dollar-makeover-of-madison-square-garden.html
  30. https://www.sofistadium.com/about/
  31. https://blog.qrfs.com/366-arena-fire-protection-life-safety-evaluation-guide/
  32. https://www.laphamsquarterly.org/food/miscellany/aldous-huxley-starts-myth-vomitorium
  33. https://oll.libertyfund.org/titles/gibbon-the-history-of-the-decline-and-fall-of-the-roman-empire-vol-2
  34. https://simpsons.fandom.com/wiki/I%2C_Carumbus/References
  35. https://www.scientificamerican.com/article/purging-the-myth-of-the-vomitorium/
  36. https://www.collinsdictionary.com/us/dictionary/english/vomitorium
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