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A human entity, but produced by "mother earth", rather than constructed.
L'Anfiteatro的点评
点评：All writings about the Sutri amphitheater agree in recognizing its distinctive feature as being entirely carved into the rock, rather than constructed. They also mention the few other Roman amphitheaters that share this characteristic: among the most famous are Leptis Magna (Libya) and Cagliari (Sardinia).
Indeed, one might expect to find such an artifact in upper Lazio: tuff, ie the rock produced by the eruption of the region's volcanic systems, and produced over a very long period of time, dating — depending on the area — from 1,300,000 to 40,000 years ago, has provided mankind with immense masses of relatively soft and therefore easily workable rock. From Pitigliano to Veii and from Orvieto to Tarquinia, this has made possible over the centuries the excavation of artificial cavities used for various purposes, from residential to burial; and even a construction like the Sutri amphitheater.
This particular conformation of the amphitheater then prevented its progressive destruction for the recovery of building stones after abandonment, as happened with most Roman amphitheaters: here there are no stone blocks, and therefore there is nothing to remove. Thus, when, starting in the 19th century, the amphitheater began to be excavated from the fillings that had gradually accumulated and made it unrecognizable, it revealed itself precisely in its original form, only slightly "worn" by erosion.
This characteristic, a hollowed-out structure, makes it something less artificial than actual buildings, something — if I may use the word — related to "mother earth" from which it was created by ablation; and therefore particularly evocative.
The grassy expanse of the arena, unusual for an amphitheater, well captures this peculiarity. And the romantic picture is completed by the scenic backdrop of tuff cliffs, and looming holm oaks and pines.
Indeed, one might expect to find such an artifact in upper Lazio: tuff, ie the rock produced by the eruption of the region's volcanic systems, and produced over a very long period of time, dating — depending on the area — from 1,300,000 to 40,000 years ago, has provided mankind with immense masses of relatively soft and therefore easily workable rock. From Pitigliano to Veii and from Orvieto to Tarquinia, this has made possible over the centuries the excavation of artificial cavities used for various purposes, from residential to burial; and even a construction like the Sutri amphitheater.
This particular conformation of the amphitheater then prevented its progressive destruction for the recovery of building stones after abandonment, as happened with most Roman amphitheaters: here there are no stone blocks, and therefore there is nothing to remove. Thus, when, starting in the 19th century, the amphitheater began to be excavated from the fillings that had gradually accumulated and made it unrecognizable, it revealed itself precisely in its original form, only slightly "worn" by erosion.
This characteristic, a hollowed-out structure, makes it something less artificial than actual buildings, something — if I may use the word — related to "mother earth" from which it was created by ablation; and therefore particularly evocative.
The grassy expanse of the arena, unusual for an amphitheater, well captures this peculiarity. And the romantic picture is completed by the scenic backdrop of tuff cliffs, and looming holm oaks and pines.
翻译：所有关于苏特里圆形剧场的记载都一致认为，其最显著的特征是完全凿刻于岩石之中，而非人工建造。这些记载还提及了其他几座具有此特征的罗马圆形剧场，其中最著名的包括利比亚的莱普提斯·马格纳圆形剧场和撒丁岛的卡利亚里圆形剧场。
事实上，人们或许会预期在拉齐奥北部地区发现这样的建筑：凝灰岩，即该地区火山系统喷发产生的岩石，历经漫长岁月形成，其形成年代——根据不同地区——可追溯至130万年前至4万年前，为人类提供了大量的相对柔软且易于加工的岩石。从皮蒂利亚诺到维埃，从奥尔维耶托到塔尔奎尼亚，几个世纪以来，正是这种岩石使得人们能够开凿各种用途的人工洞穴，从居住到墓葬，甚至建造像苏特里圆形剧场这样的建筑。
这种特殊的圆形剧场结构避免了像大多数罗马圆形剧场那样，在废弃后因建筑石料的回收而逐渐损毁：这里没有石块，因此也无物可移。所以，从19世纪开始，当人们开始从逐渐堆积、使其面目全非的填土中挖掘出圆形剧场时，它展现出的正是最初的形态，只是略微因风化侵蚀而略显“斑驳”。
这种空心结构使其比实际的建筑更自然，更接近于——如果我可以用这个词的话——它与“大地母亲”息息相关，仿佛是由大地母亲的侵蚀作用造就而成；因此，它格外引人遐想。
圆形剧场中罕见的草坪，恰好衬托出这种独特性。而凝灰岩峭壁、高耸的冬青橡树和松树，更增添了这幅浪漫的画面。
事实上，人们或许会预期在拉齐奥北部地区发现这样的建筑：凝灰岩，即该地区火山系统喷发产生的岩石，历经漫长岁月形成，其形成年代——根据不同地区——可追溯至130万年前至4万年前，为人类提供了大量的相对柔软且易于加工的岩石。从皮蒂利亚诺到维埃，从奥尔维耶托到塔尔奎尼亚，几个世纪以来，正是这种岩石使得人们能够开凿各种用途的人工洞穴，从居住到墓葬，甚至建造像苏特里圆形剧场这样的建筑。
这种特殊的圆形剧场结构避免了像大多数罗马圆形剧场那样，在废弃后因建筑石料的回收而逐渐损毁：这里没有石块，因此也无物可移。所以，从19世纪开始，当人们开始从逐渐堆积、使其面目全非的填土中挖掘出圆形剧场时，它展现出的正是最初的形态，只是略微因风化侵蚀而略显“斑驳”。
这种空心结构使其比实际的建筑更自然，更接近于——如果我可以用这个词的话——它与“大地母亲”息息相关，仿佛是由大地母亲的侵蚀作用造就而成；因此，它格外引人遐想。
圆形剧场中罕见的草坪，恰好衬托出这种独特性。而凝灰岩峭壁、高耸的冬青橡树和松树，更增添了这幅浪漫的画面。
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