The mediaeval stage, volume 1 (of 2)Chambers, E. K. (Edmund Kerchever)
History
The mediaeval stage, volume 1 (of 2)
Chambers, E. K. (Edmund Kerchever)
Drama, Medieval -- History and criticism; Theater -- History -- Medieval, 500-1500
More than a century after the exile and death of St. Chrysostom the
theatre was still receiving state recognition at Constantinople. A
regulation of Justinian as to the _ludi_ to be given by newly elected
consuls specified a performance on the stage ominously designated
as the ‘Harlots’[61]. By this date the _status_ of the theatrical
profession had at last undergone further and noticeable modification.
The ancient Roman prohibition against the marriage of men of noble
birth with _scenicae_ or other _infames_ or the daughters of such,
had been re-enacted under Constantine. A partial repeal in 454 had
not extended to the _scenicae_[62]. During the first half of the
sixth century, however, a series of decrees removed their disability
on condition of their quitting the stage, and further made it an
offence to compel slaves or freed women to perform against their
will[63]. In these humane relaxations of the rigid laws of theatrical
caste has often been traced the hand of the empress Theodora, who,
according to the contemporary gossip of Procopius, was herself, before
her conversion, one of the most shameless of mimes. But it must be
noted that the most important of the decrees in question preceded the
accession of Justinian, although it may possibly have been intended
to facilitate his own marriage[64]. The history of the stage in the
East cannot be traced much further with any certainty. The canons of
the Quinisextine council, which met in the Trullan chamber to codify
ecclesiastical discipline in 692, appear to contemplate the possibility
of performances still being given[65]. A modern Greek scholar, M.
Sathas, has made an ingenious attempt to establish the existence of a
Byzantine theatrical tradition right through the Middle Ages; but Dr.
Krumbacher, the most learned historian of Byzantine literature, is
against him, and holds that, so far as our knowledge goes, the theatre
must be considered to have perished during the stress of the Saracen
invasions which, in the seventh and eighth centuries, devastated the
East[66].
Public-domain text, read in full here on John Shaqi.
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