From Classical Light Into The Dark Ages The Fifth Century

From Classical Light Into The Dark Ages The Fifth Century

Roman society, and the viable theatre it supported, begins to crumble under the barbarian incursions that begin in the third century. It is a long and painful death of the Roman Empire which finally succumbs in the fall of Rome.

Theatres, and productions in them, survive in various centers throughout the empire until they are overwhelmed (at different times in different places) by migrating tribes and plundered by other raiding tribes. The craft, if not the art, of theatrical performance survives in small groups and individuals to gradually reemerge when and where societal conditions are suitable. The knowledge as recorded in books survives through quite different channels and surfaces in a different manner, ultimately to be reunited with the practitioners in the Renaissance.

During this entire period (from the fall of Roman society into the 1400's) theatre practice survives in the hands of roving performers. They are known by a variety of terms according to the language and time in which they appear. Unfortunately they are known to us almost entirely through church records prohibiting them from doing whatever theatrical performance activity they are doing at the time. In a disorganized and embattled society they have no legal identity. They are denounced as "infamous" by the church and as being "masterless" by local governments. They pursue a precarious existence continually attacked by the church, but obviously welcomed as entertainers by those with the wherewithal to pay them. Some of the names they are known by are troubadours, jonglers, bards, minstrels, scops (in the Germanic territories), the singers and reciters of stories and tales; others are called mimes, historines, ludis and these practictioners enact bits and pieces of folk tales and stock character plots. Whatever the name by which they are called, they are also acrobats, jugglers, animal trainers, dancers and musicians, with as wide a range of skills as each can master.

They no doubt show up in local celebrations as well, in Morris Dances, Sword Dances and May celebrations. Think of them as continuing throughout the centuries, always pursued and denounced by the church.

A note on allegories and morality plays: Somewhere around 400 an orator named Prudentius* writes a work in praise of Christianity called Psychomachia* . This little opus deals with the struggle of virtues and vices for the soul of man. Somehow this particular Christian lesson plan survives and becomes a favorite source for morality* plays. It includes characters such as Hypocrisy, Heresy and the Prince of this world, as well as the scenic piece of the Wheel of Fortune*

The later Romance of the Rose* includes allegorical characters. Also, the population (after their experience with the plague) is increasingly concerned with death. We see this in the visual arts as well as in the theatre. In drama it is epitomized as the "Dance of Death."

Meanwhile the church (just as we saw in ancient Egypt) makes more and more use of theatrical elements in their effort to communicate with their flocks. Since those flocks are illiterate and increasingly understand nothing even of spoken Latin, the importance of graphic Meanwhile the church (just as we saw in ancient Egypt) makes more and more use of theatrical elements in their effort to communicate with their flocks. Since those flocks are illiterate and increasingly understand nothing even of spoken Latin, the importance of graphic

By the time of the fall of Rome, organized society ceases to exist in Europe. As this comes to

be the case, we will turn to North Africa and the Middle East where theatre texts and other vital classical documents survive and are preserved. Proceeding chronologically, we will return to Europe as, and when, cultural activity reemerges. Where earlier it was possible to maintain something of a narrative flow, you will notice that we now move in fits and starts.*