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Performance Secondly, the Roman penchant for
Not surprisingly, Rome’s finest era spectacle meant that by the first century
of dramatic performance coincides with BC, real executions and real combats
its golden age of dramatic literature - were performed on stage, as were
approximately the period 225 to 160BC scenes with horses, chariots and
- the age of Plautus and Terence. hundreds of captives. Theatres might
The religious emphasis of Greek also be flooded to re-enact sea battles.
theatre had diminished by this time. Upon the opening of Pompey's theatre
Nevertheless, the practice of in 55 BC, 600 mules were used in a
performing plays at religious festivals production of Accius’ Clytemnestra.
persisted, and often the theatres were The physical theatre
built close to the temple of the god In the time of Plautus and Terence,
being honoured. the theatre was often a temporary
Festivals were more numerous in structure constructed for a specific
Rome than they had been in Greece, production and demolished afterwards.
and were essentially a time for Although influenced by Greek
Publius Terentius (called Terence) merriment. The most famous Roman precedents, early Roman theatres were
(185- c.159BC) was a freed slave from festival, the Ludi Romani, was held in notably simple: usually built on flat
Carthage who produced six Palliatae, September. It included parades, chariot ground, not on slopes, so that the
all of them more traditional and races, beast fights, wrestling, boxing, viewing place (cavea) was not integral
sophisticated than those of Plautus. rope-dancing and during the first few as it had been in Greek theatre. Seats
Terence preferred subtle comedy to days, plays. The plays came under the were non-existent unless the spectators
boisterous hilarity. Julius Caesar supervision of the Senate, which brought their own.
claimed Terence was deficient of comic assisted with the expenses. A scene building with a long wooden
spirit. However, his technical Magistrates who contracted the platform at its front and wooden walls at
achievements far outweigh such plays to a professional manager known the back and flanking both ends was
criticism. Terence introduced double as a dominus usually managed customary. The scene buildings usually
action and double plots. He also arrangements for public productions. contained three doors, with two more at
extended the element of surprise and The dominus, often an actor, purchased the sides. The scenes, blank in the early
gave greater attention to the plays from a playwright and then days, were in time ornamented with
characterisation and verbal style. took complete charge of the production. columns, niches, arches and statuary. The
Elegance and correctness underscored
The actors, called histriones, were orchestra was an open, semi-circular
his works.
usually slaves trained for comedy, space in front of the scene building.
Some of his fine plays are The Girl
tragedy, mime or pantomime. Unlike However, it tended to be reserved for
from Andros, The Self-Tormentor, The
their Greek counterparts, they enjoyed dignitaries rather than performers.
Mother-in-Law and The Brothers.
few civic privileges. It was typical for Stone theatres came later. The first
Sadly, many more were lost as a result
them to be flogged if their stone scene building was built in 174BC,
of his early death by shipwreck.
performances were considered below and by about 78BC it was customary to
par. On the other hand, good cover the theatre with canvas awnings to
Quotes from Terence:
performers were praised for their clarity protect both actors and audiences from
As you cannot do what you wish, and gracefulness. the elements. Spectators were pampered
you should wish what you can do.
The performances, like the theatres on hot days by showers of perfumed
To be suspicious is not a fault. To be themselves, reflected a combination of water. Fruit sellers were on-hand to
suspicious all the time without native and Greek attributes. Costumes provide refreshments.
coming to a conclusion is the defect. were representative of the later days of Although the stone theatres were
the Greek era. In tragedy, long gowns more lavish, spectators still had to bring
Tragedy did not flower to the same and high boots were typical, whereas their own seats until the time of
extent as comedy during the era of short gowns and sandals were usual in Pompey’s theatre (55BC) which seated
Plautus and Terence. comedy. up to 35,000 spectators. The theatre at
Marcus Parcuvius (c.220-130BC)
Masks were worn in the Atallanae Marcellus, adjacent to the temple of
was the outstanding Roman tragedian
and Phylax farces, then were not Apollo in central Rome, was completed
for many decades. Parcuvius followed
utilised again until the time of Plautus by Augustus in 13BC and dedicated in
Greek exemplars and favoured
and Terence. By the end of the second name to his nephew Marcus Marcellus.
complicated plots. He was also an
century BC, masks were generally In the same year, the Theatre of
accomplished painter and poet.
worn, except in mime. Porticus Balbus was completed and
The flamboyant Lucius Accius
Stagecraft in Roman theatre began a dedicated to the Roman victory over
(170- c.85BC) was the last Roman
subtle change. Firstly, the chorus was the Libyans in 19BC. Permanent
tragic dramatist of consequence.
by no means as prominent. It had a role smaller theatres were then built
for interludes in tragedy, though not in throughout the Roman world. Many
comedy, thereby severing the link with fine examples remain in an excellent
the dithyramb (religious choral chant) state of preservation in Italy, Spain,
of Greek theatre. France, Turkey and North Africa.
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