Theatres in Roman Empire evolved over time to incorporate all aspects of human nature ranging from social, economic, religious and political patterns. These aspects were incorporated gradually into theatre activities or structures with time. This incorporation was necessitated by the ever-changing attitude of the population towards the role of theater in the society. This evolution is evident in the remains of theatres in different regions within Rome and their frequent association with several events that took place during the ancient times in Rome in literature, epigraphy or even in the Roman Law. Referring to the theatre remains, Mary T. Boatwright states that indications “are brought to life by innumerable references to theaters and theatrical events in literature, epigraphy, Roman law, and the visual arts”(184). The indications in the remains suggest the high importance that theater took in the ancient Rome society unrivalled to how it is perceived in modern day society.
In the early developments, theatres were used for religious and secular purposes. They were used to showcase a wide range of public events while also serving as sceneries where sacrifices could be offered. These events, religious or secular were usually sponsored by the high in society such as the emperor, magistrates, governors or other dignitaries or even civic organizations. These groups are still credited with the construction of the theatres. This relationship between theater and the dignitaries in the society brought into perspective the great role that theatre played in the politics of the day. Boatwright states that “Thus, in the Roman world, theaters embodied the close relationship of spectacles, religion, society, and politics”. (185). In fact, theaters were considered a crucial item for recognition of any city as they formed the basis on which the culture and ideas of that particular society could be disseminated.
These structures were built in such a way that they could offer proper view for the audience on any event that was taking place. They were usually built in a semi circle with the auditorium placed at the centre of the semicircle closest to the lowest row of seats. The theatre was built with sloping seats. Each wedge of seats had gateways that provided organized passage to the audience and credited with allowing interaction among the audience (185). Inside these structures, there were rules that governed the events that took place. The inscriptions on the remains show the hierarchies of sitting: the most privileged in the society took the seats closest to the auditorium while the lowest in the community sat in the highest wedges farther from the auditorium. With time, these rules were incorporated in the Roman law and those who dared occupy the seats meant for the dignitaries would be punished. The theaters were lavishly built and decorated. There was a common tendency to adorn the theater with reliefs such as the gods of theater, mythological episodes and even to recognize the influential dignitaries in the society. Boatwright states that “The rise of the forward edge of the stage was frequently adorned with reliefs depicting Dionysus, god of the theater; other gods and mythological episodes; and theatrical scenes of various types.” (186).
In the middle of the third century of the B.C.E, drama was incorporated into Roman Theater. This was followed by the incorporation of tragedy and comedy. Platius became the most common Roman comedian during this time. He wrote his comedies between 190-240 B.C.E. This revolution brought a new lease of life to the theater as more people took concern and more public ceremonies shifted into theaters. The ceremonies were meant either to honor the gods or to commemorate individuals in the society. These events were supervised by the state through magistrates. With increased number of persons now attending these events, politicians used them to gain more fame and influence. They could offer to construct the theaters or organize events at their own expenses. According to Boatwright,” The more entertaining and dazzling the spectacle the greater the public glory and political influence that accrued to the person or persons in charge of the presentation.” (188).
As drama became more common, the imperial laws classified the actors, performers, comedians and actors as a social class that lacked morals and could not serve the public beyond using their personal image to earn money. They could not engage in certain legal procedures and the dignitaries were forbidden from marrying them. “Members of senatorial families were prohibited from marrying actresses, actors, or persons whose parents acted on the stage.” (Boatwright 189). With time, they were considered so crucial and the highly trained could be lured into theaters using gifts, money and lavish lives in order to perform. Boatwright asserts that “They were given special privileges, including traveling expenses and immunity from community service as well as prizes at the festivals.”(190).
During this time, the emergence of permanent structures as theaters was also allowed. Previously, only temporary structures were allowed. The strategy was used by the influential in society to prevent their competitors from gaining more fame by offering to construct these structures. It is important to note that the association of theater with Roman religion alienated the Christians and Jews from participating in these events due to the secular nature of events in theaters. With Christianization of Rome, the spectacular and secular nature of theaters was shunned. “Christianization of Rome in the fourth century finally shut down theatrical spectacles” (Boatwright 191).
Works cited
Theaters in the Roman Empire (1990).Mary T. Boatwright: The Biblical Archaeologist, Vol. 53, No. 4, pp. 184.The American Schools of Oriental Research. Retrieved from: http://www.jstor.org/stable/3210163
