Introduction to the Theatre

THE 101 / University of Idaho

Chapter 12 / Roman Drama

Historical Background

     The Roman Empire finds its roots in the waning Greek civilization, which had been assimilated by the Etruscans - an affiliation of Italian city-states.   The Etruscans, in turn, were then eventually absorbed by its strongest city-state, which was based in Rome, and became the foundation for the Roman Empire (500BCE to 323AD).   From this point on, Roman history is a dynamic period of sweeping imperialism and brutal conquest.   Roman armies and their generals were superior to their enemies in armament, training, and tactics. And at its height, the Roman Empire covered today’s modern map from Egypt to Germany and from Turkey to England (Gaul), and established a militaristic republic.   However, the Roman form of government started out as federal or republican form of government - using a senate of representatives and a senate elected leader (Caesar), but this eventually evolved into a more lineage driven form of leadership, as Rome became the seat of a large empire.   Like Greece, Roman citizens were obliged to serve Caesar and the needs of the empire.

     Also like the Greeks, the Romans used religious and civic holidays to stage festivals of celebration called ludi.   Eventually these festivals included games, ranging from wrestling matches, to chariot races, to gladiatorial contests.   The games became so popular that the Circus Maximus boasted sea battles in coliseums called naumachia, and the notorious crucifixion and execution of slaves and Christians.   Once removed from its role as a religious ceremony, theatre became a popular event and entertainment for the Roman citizen.

Politically, Roman history is wild.   Some Caesars were strong and morally centered - as were Augustus and Claudius, while others like Nero and Caligula were decadent and immoral.   The political intrigue and bloody struggles for power within the Senate and the ruling families was ever present.   Scholars believe that it was this immorality and intrigue, coupled with the loosening of Imperial restrictions on Christianity and Judaism by Constantine that led to the Christian revival.   Meanwhile, away from home, the Roman armies expanded past their supply lines and limits.   In 323AD, the Emperor Constantine moved the Roman capitol to Byzantium, which is later named Constantinople and eventually becomes the home of the Byzantine Empire.   However, this move effectively splits the empire in half and this, plus the economic and military over expansion of Roman Empire, leads to the eventual collapse of the western part of the Roman Empire.   However, Justinian and other emperors are able to hold on to what is left, which is then called the Byzantine Empire until 1025AD.   The fall of the Byzantine Empire leads to a period of little or no recorded history, no centralized government, and no formalized education, which plunges the known world into The Dark Ages.

The Playwrights and Theatrical Conventions:

     The most distinctive Roman playwrights are the two comedians Plautus (254 - 184 BCE) The Braggart Warrior and The Menaechmus Twins, and Terrence (195 - 159 BCE) Eunuch, Phormio, and Mother in Law, and the tragedian Seneca (5 BCE - 65AD) Phaedra, Thyestes, and The Phonecian Women.   Roman Comedies were largely based on the later Greek or “New Comedy” Greek style.   However, the Romans chose to abandon the traditional use of the Greek chorus and instead added musical elements that were scattered throughout, much like in a modern musical.   Roman comedy also explored everyday domestic themes like Terrence’s play Mother in Law.   While the Romans did allow women onstage, they were hardly feminists.   Women were not portrayed in the best light and usually had to play less than desirable stereotypes.   In addition, when the female actors were not needed to portray their roles they were kept backstage.

    Thematically, Roman tragedy used both Greek ideas and more current Roman incidents.   Roman tragedy contained horrifying plots, elaborate speeches and strong moral conclusions to the problems presented by the play.   Seneca’s tragedies were so violent it is speculated that they were never performed and if they were modern day ‘snuff films’ would pale in comparison.   Finally, Roman tragedies followed a five-act form - dividing the action into five distinct parts each with a various number of scenes.

    In addition to comedy and tragedy the Romans performed mime, pantomime and the atellan farce.   Mime is a closed mouth single actor mimicking daily actions and frustrations usually with a comic twist.   Mime can be readily found in any metropolitan area where street theatre is allowed.   Pantomime consists of short skits composed from original and classic comedic plays, simplified, and ‘sexed up’.   The atellan farce or the fabulla atellena is the indigenous and a highly competitive Etruscan style of comedy.   The atellan farce is a short farce that uses stock characters, and an improvised dialogue based on simple plots of trickery.   The atellan farce is speculated to be the early dramatic form of comedy that develops into the Commedia dell ‘Arte movement in the Italian Renaissance.

The Staging and Spectacle:

     The Roman theater was more intimate than the Greek theater for several reasons.

   The Romans did not build their theaters in natural amphitheaters because they had the engineering ability to do otherwise.  In addition, they had developed concrete, which allowed them to construct buildings of immense proportions.  Architecturally, they reduced the orchestra to a semi-circle drawing the whole audience closer to the action.   The simple skene of the Greek theater was replaced by a more ornate scanae frons with second story openings or windows.   In many ways the scanae frons represented the outside of buildings on a Roman street, a common location used in many plays.   The scanae frons was also partially roofed providing protection from the elements and had an act drape that could be closed to conceal the scanae frons.

    While resembling the Greek acting style, the Roman style took on its own unique characteristics.  It was more violent, aggressive, and realistic - in short, Roman.   In addition, women portrayed women on stage adding to more believable situations in Roman comedy and tragedy.   Finally, Roman actors abandoned the use of masks, kothurni, and the chorus.  These theatrical changes, along with the thematic and technical changes moved the theater away from the ritualized drama of the Greeks and created a new theater that more accurately reflected Roman culture and sensibilities.  And, as you will see, this process repeats itself over and over again throughout history, as each new civilization or culture attempts to define itself through the arts.