The Middle Ages in Europe
In terms of performances and theatres, Roman drama reached its height in the 4th century ad, but it had already encountered opposition that was to lead to its demise. From about ad 300 on, the church tried to dissuade Christians from going to the theatre, and in 401 the fifth Council of Carthage decreed excommunication for anyone who attended performances on holy days. Actors were forbidden the sacraments unless they gave up their profession, a decree not rescinded in many places until the 18th century. An edict of Charlemagne (c. 814) stated that no actor could put on a priest’s robe; the penalty could be banishment. This suggests that drama, most probably mime, had ridiculed the church or that it had tried to accommodate religious sensibilities by performance of “godly” plays.
The invasions of the barbarians from the north and east accelerated the decline of Roman theatre. Although by 476 Rome had been sacked twice, some of the theatres were rebuilt. The last definite record of a performance in Rome was in 533. Archaeological evidence suggests that the theatre did not survive the Lombard invasion of 568, after which state recognition and support of the theatre was abandoned. Theatre did continue for a while in the Eastern Roman Empire, the capital of which was Constantinople, but by 692 the Quinisext Council of the church passed a resolution forbidding all mimes, theatres, and other spectacles. Although the effectiveness of the decree has been questioned, historians until recently used it to signify the end of the ancient theatre.
The assumption now is that although official recognition and support of performances were withdrawn and theatres were not used, some remnants of at least the mime tradition were carried on throughout the Middle Ages. Christian writings suggest that performers were familiar figures. For instance, two popular sayings were “It is better to please God than the actors” and “It is better to feed paupers at your table than actors.” Apart from the mime tradition, one Roman playwright, Terence, retained his reputation through the early Middle Ages, probably because of his literary style.
Women performers were widespread during the period as jugglers, acrobats, dancers, singers, and musicians. There were women troubadours and jongleurs, and many of the French chansons are written from the point of view of female narrators, notably the chansons de mal mariée, or complaints by unhappily married women. Generations of ecclesiastical authorities protested against the great choruses of women who poured into churches and monasteries on feast days, singing obscene songs and ballads. Complaints are recorded from the 6th century ad to the 14th about women taking part in licentious public performances on festive occasions. Women were also active participants in the later mumming plays; the London Mumming of c. 1427 was presented by an all-female cast, while in the Christmas Mumming at Hertford, the young king Henry VI saw a performance consisting of “a disguysing of the rude upplandisshe people compleynynge on hir wyves, with the boystous aunswere of hir wyves.”