Nestled between Cuzco and Machu Picchu, the ancient Amphitheater of Muyu-Uray stands as a testament to the architectural ingenuity of the Incan tribe. This remarkable structure, referenced in Bernard Rudofsky’s Architecture without Architects, reveals much about the sophisticated design and cultural practices of the Incas.
Architectural Features
The Amphitheater of Muyu-Uray comprises twelve terraces, each about six feet in height and twenty-three feet in width. The diameter of the lowest circular platform varies between eighty to one hundred thirty-four feet. Among the theaters, four are perfectly circular, while one adopts a distinctive horseshoe shape. These terraces and platforms demonstrate the Incas’ adeptness in creating spaces that harnessed the natural topography for optimal functionality.
According to Plastic Form in Architecture, the Incas constructed these plastic forms because sound travels in a straight line and reflects off stone. The design of these theaters, identical to Greek theaters situated on sloping hills, underscores a shared understanding of acoustics and communal gathering spaces across ancient civilizations.
Multifaceted Uses
While the amphitheater’s design suggests a primary use as a theater, its actual function has been a topic of debate among historians and archaeologists. The presence of varying temperatures across terraces and an ancient water pipe has led some to speculate that the site was used for agricultural experimentation. Rudofsky himself notes that erosion and climate changes have transformed the terraces into pastures or farmland, implying that the site might have served different purposes over time.
Currently, part of the site is utilized for growing crops, creating a “live museum.” As highlighted in the Vernacular Architecture of the World, a “live museum” which is an open-air museum provides visitors with a tangible connection to the historical and cultural context of the Incan civilization which also helps set a sense of identity for the people there.
Another point that helps us understand what it might be used for is the name itself, which is Muyu-Uray or also Moray, which could be derived from “Ayomoray”, which was the fifth month in the Incan calendar which was for the end of harvest and was a celebratory time. However, it’s direct translation is ‘circle of the bottom’.
Personal Perspective
From my perspective, while the agricultural use is plausible, I am inclined to agree with Rudofsky’s assertion that the land was initially an amphitheater. The location, distant from the river, seems impractical for crop experimentation. Moreover, the choice of a man-made excavation over a naturally steeper hill for varied climatic conditions further supports the notion of its original use as an open-theater center. The addition of crops likely occurred after the site ceased functioning as a theater.
I can also envision the amphitheater being used for festival celebrations, providing a space far removed from the town’s daily hustle. This separation would have created a special, almost sacred environment for communal gatherings and cultural events.
Conclusion
The Amphitheater of Muyu-Uray is a fascinating site that encapsulates the ingenuity and adaptability of the Incan civilization. Whether used as a theater, an agricultural experiment, or a festival ground, it remains a significant cultural and historical landmark. Visiting this site offers a unique glimpse into the past, providing a deeper understanding of the Incas’ architectural prowess and their multifaceted use of space.
Bibliography
Jong, Adriaan. “Museological” Encyclopedia of Vernacular Architecture of the World, edited by Paul Oliver, 1997, pp.49-52.
Rudofsky, Bernard. Architecture without Architects, 1964.
Lambeth, Jimmy. Plastic Form in Architecture, Rice University, 1967.
AKSHAT GOYAL 
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