This post presents a comparative table between Greek, Roman, and Medieval theatre. Teachers and students can now see a detailed overview of these three periods side-by-side.

The fourteen key areas compared for each period are:

Period
Origins
Philosophical Foundations
Purpose of Theatre
Approach to Characterisation
Narrative Structure
Dialogue
Staging and Set Design
Theatrical Innovations.
Acting Style
Actor-Audience Relationship
Themes and Subject Matter
Influence on Later Theatre
Notable Works

I have drawn up two tables below. The advanced version is recommended for teachers, university students, and advanced-level senior high students. The standard version, further down, is more straightforward and recommended for most students.

While this website is fully responsive for all devices, due to the tables in this post, it is best viewed on a tablet, laptop or desktop.

Comparative Table of Greek, Roman and Medieval Theatre – ADVANCED VERSION

Aspect	Greek Theatre	Roman Theatre	Medieval Theatre

Period

5th – 4th century BCE: Greek Theatre developed during the Classical period in ancient Greece, particularly in Athens. The height of Greek Theatre coincided with the golden age of Greek culture and democracy. Key playwrights included Aeschylus, Sophocles, Euripides, and Aristophanes.

3rd century BCE – 5th century CE: Roman Theatre began in the late Republic and continued through the Empire, reaching its peak under Augustus. It borrowed heavily from Greek Theatre but introduced new elements of spectacle. Important playwrights included Plautus, Terence, and Seneca. The period saw the development of both comedy and tragedy, though tragedy was less popular than in Greece.

5th – 15th century CE: Medieval Theatre emerged after the fall of the Roman Empire and continued through the Middle Ages. It was initially tied closely to the Christian Church and later expanded into secular themes. This period includes Liturgical drama, Mystery plays, Morality plays, and Miracle plays. Theatre moved from the confines of the church to public spaces like town squares and pageant wagons.

Origins

Religious festivals, particularly Dionysia: Greek Theatre originated as part of religious festivals dedicated to the god Dionysus. These festivals included performances of tragedies, comedies, and satyr plays. Theatre was deeply intertwined with religious and cultural life, with performances often taking place in large outdoor amphitheatres. The origins of Greek Theatre are linked to the dithyramb, a choral hymn sung in honour of Dionysus.

Adaptation of Greek Theatre, with added spectacle: Roman Theatre was heavily influenced by Greek Theatre but adapted to suit Roman tastes. The Romans borrowed Greek themes and structures but placed a greater emphasis on spectacle and entertainment, incorporating elements such as gladiatorial combat and naval battles into their performances. Theatre became a tool of political propaganda, often sponsored by the state to gain public favour.

Christian liturgical drama, expanding to morality and mystery plays: Medieval Theatre began with simple religious dramas performed within the church, designed to teach Christian doctrine and illustrate biblical stories. As the Middle Ages progressed, these performances moved outside the church and became more elaborate, eventually leading to the development of Mystery plays (cycle plays), which depicted the entire history of salvation, and Morality plays, which taught moral lessons.

Philosophical Foundations

Mythology, fate, and the gods; exploration of human nature and morality: Greek Theatre was deeply philosophical, reflecting the Greek interest in exploring the human condition, ethics, and the role of the gods in human affairs. Tragedies often dealt with themes of fate, hubris, and the consequences of defying the divine order. Comedies, especially those of Aristophanes, used satire to comment on social, political, and cultural issues.

Adaptation of Greek themes with increased emphasis on entertainment and spectacle: Roman Theatre was less philosophically driven than Greek Theatre and more focused on entertainment and spectacle. While Greek tragedies explored deep moral and existential questions, Roman plays often prioritised humour, farce, and grandiose presentations. The philosophical depth of Greek Theatre was often replaced by a focus on amusement, although moral lessons were still present, particularly in later Roman tragedy.

Rooted in Christian doctrine, aiming to teach religious and moral lessons: Medieval Theatre was primarily didactic, designed to teach the principles of Christianity to an often illiterate population. Themes centred on sin, redemption, and the eternal battle between good and evil. The theatre of this period reflected the Church’s dominance over intellectual and cultural life, with plays often reinforcing the social order and the Church’s moral teachings.

Epidauros Greek Theatre — Theatre of Epidauros, Greece.

Purpose of Theatre

To educate, entertain, and honour the gods through stories of mythology and human experience: Greek Theatre served both religious and civic purposes. Tragedies sought to evoke catharsis in the audience, purging them of their emotions through the intense depiction of suffering and moral dilemmas. Comedies aimed to entertain while also providing social critique. Theatre was an integral part of Athenian democracy, often addressing contemporary issues and fostering public debate.

To entertain the masses, often with more emphasis on spectacle and comedy; also served as political propaganda: Roman Theatre was primarily a form of public entertainment. The state-sponsored performances aimed to keep the populace entertained and content, often diverting attention from political issues. While still educational in some respects, Roman Theatre was less concerned with philosophical exploration and more focused on spectacle and popular appeal.

To teach Christian values, instruct on morality, and reinforce religious beliefs through allegorical narratives: Medieval Theatre aimed to educate the public about Christian doctrine and reinforce the moral teachings of the Church. It provided a means of illustrating the Bible’s teachings and encouraging virtuous behaviour. As theatre moved into public spaces, it also began to reflect the social and economic concerns of the time, such as the struggles of everyday life and the concept of divine justice.

Approach to Characterisation

Archetypal characters representing gods, heroes, and tragic figures: Greek characters often embodied universal archetypes. Tragic heroes, like Oedipus or Antigone, were depicted as larger-than-life figures whose personal flaws (hamartia) led to their downfall. These characters were designed to evoke pity and fear in the audience, leading to catharsis. The chorus played a significant role, often representing the voice of society or the gods, commenting on the action and guiding the audience’s moral response.

Similar to Greek archetypes but with more emphasis on spectacle; included more comedic and exaggerated figures: Roman Theatre retained the use of archetypes from Greek drama but expanded on them to suit Roman tastes for spectacle and farce. Characters in Roman comedy, such as the clever slave or the braggart soldier, were often exaggerated for humorous effect. Roman tragedy, while less prominent, still featured characters based on Greek models, though with a greater focus on rhetorical skill and spectacle.

Allegorical and moralistic characters representing virtues, vices, and religious figures: Medieval Theatre featured characters that were personifications of abstract qualities such as Virtue, Vice, Death, and the Seven Deadly Sins. These allegorical figures were used to convey moral lessons clearly and directly. In Mystery plays, biblical characters were depicted in a way that emphasised their moral and spiritual significance, often with a didactic purpose to instruct the audience in Christian teachings.

Narrative Structure

Tragedies and comedies with an episodic structure, using the chorus to narrate and comment on the action: Greek tragedies typically followed a strict structure, including a prologue, parodos (chorus entrance), episodes (scenes), stasimon (choral odes), and exodus (conclusion). This structure allowed for the gradual unfolding of the plot and the deepening of the central conflict. Comedies were more flexible in structure but still adhered to conventions like the use of the chorus and the parabasis (direct address to the audience).

Similar to Greek structure but with added elements of spectacle, pantomime, and farce: Roman Theatre adopted the Greek five-act structure in tragedy but often expanded the number of scenes to include more spectacle. Roman comedies, influenced by Greek New Comedy, featured intricate plots with misunderstandings, disguises, and coincidences. Pantomime, a popular form in Rome, involved solo dance performances that told stories through gestures, often accompanied by a chorus and orchestra.

Episodic and cyclical narratives based on biblical stories and Christian teachings: Medieval plays were often structured around a series of episodes or tableaux that depicted key moments from the Bible or allegorical journeys of the human soul. Mystery plays were typically performed in cycles, with each play depicting a different story from the Bible, from Creation to the Last Judgment. Morality plays, like “Everyman,” followed a linear but symbolic narrative that traced a character’s journey from sin to redemption.

Dialogue

Poetic, formal, and elevated; often written in verse, exploring deep philosophical questions and moral dilemmas: Greek dialogue was carefully crafted to convey the grandeur of the characters and the gravity of their situations. Tragedies were written in verse, using meters such as iambic trimeter for dialogue and dactylic hexameter for choral odes. The language was rich in metaphor, allusion, and rhetorical devices, reflecting the intellectual and artistic achievements of the time.

Adapted from Greek, with a mix of elevated and more comedic tones; use of Latin became prevalent: Roman dialogue retained much of the formality of Greek verse, particularly in tragedy, where it often focused on rhetorical speeches and elaborate monologues. In comedy, the language was more colloquial, with a greater emphasis on wordplay, puns, and humour. Over time, Latin became the primary language of Roman Theatre, and the style of dialogue reflected the Roman appreciation for oratory and linguistic virtuosity.

Religious, didactic, and symbolic, often using straightforward language to convey moral lessons: Medieval Theatre used language that was accessible to the general population, often incorporating the vernacular alongside Latin. The dialogue in Morality and Mystery plays was direct and focused on teaching religious principles, using allegory and symbolism to communicate complex theological ideas in a way that was easily understood by audiences of varying educational backgrounds.

Staging and Set Design

Performed in large outdoor amphitheatres with minimal sets, relying on the chorus, masks, and costumes to create atmosphere: Greek Theatre made use of natural landscapes, such as hillsides, to create amphitheatres that could hold thousands of spectators. The skene (stage building) provided a backdrop for the action, but sets were minimal, often consisting of simple props like altars or thrones. The use of masks was crucial for identifying characters, and the chorus’s movements and songs helped establish the mood and setting.

More elaborate staging, including large arenas, mechanical devices, and grand spectacles such as sea battles and animal fights: Roman Theatre took place in large venues like the Colosseum or the Circus Maximus, where elaborate stage machinery was used to create impressive effects, such as raising and lowering platforms or simulating naval battles. Scenery was often more detailed than in Greek Theatre, with painted backdrops, movable scenery, and even the use of real animals in certain performances.

Performed in a variety of settings, from churches to outdoor pageant wagons; sets were often symbolic rather than realistic: Medieval Theatre was highly adaptable, with performances taking place in diverse locations, from the interiors of churches to public squares. Pageant wagons, mobile stages that could be moved from place to place, were common for Mystery plays. Set design was generally symbolic, with simple backdrops representing heaven, hell, or other abstract concepts. Costumes were also symbolic, with colours and materials chosen to reflect the character’s moral or spiritual status.

Theatrical Innovations

Introduction of the chorus, use of masks, development of the tragedy and comedy genres: Greek Theatre introduced the concept of the chorus as a collective character that provided background information, commentary, and reflections on the action. The use of masks allowed actors to play multiple roles and emphasised the universality of the characters. The development of distinct genres, such as tragedy and comedy, established frameworks that would influence Western drama for centuries.

Expanded the use of spectacle and introduced new forms like pantomime; adapted Greek plays while adding elements like large-scale public games: Roman Theatre expanded upon Greek practices by introducing greater spectacle and a more diverse range of theatrical forms. Pantomime, a highly expressive form of solo performance, became popular, as did the inclusion of public games and mock battles as part of the theatrical experience. The Romans also developed more sophisticated stage machinery, enhancing the visual impact of their productions.

Introduced religious and moral themes into theatre; developed the morality play, which personified abstract qualities like Virtue and Vice: Medieval Theatre made significant contributions to the development of Western drama by introducing religious and moral themes that would resonate throughout the Renaissance and beyond. The creation of the Morality play, with its personification of abstract qualities like Virtue and Vice, established a new genre that blended allegory with dramatic narrative. Mystery plays also set the stage for the later development of historical drama.

Acting Style

Highly stylised, formal, with actors often wearing masks; relied on gesture and voice to convey character, supported by the chorus: Acting in Greek Theatre was highly ritualised, with a focus on conveying the emotional and moral weight of the characters through voice, gesture, and movement. The use of masks allowed actors to adopt multiple roles and project their voices to the large audience. The chorus played a central role, not only narrating the story but also interacting with the main characters and guiding the audience’s interpretation.

Exaggerated and melodramatic compared to Greek Theatre, with greater emphasis on spectacle and entertainment: Acting in Roman Theatre was more exaggerated and physical than in Greek Theatre, with a greater emphasis on entertainment value. Actors often used broad gestures, expressive faces, and elaborate costumes to convey their characters. Roman Theatre also included more comedic elements, with actors employing slapstick, farce, and physical comedy to engage the audience. The focus on spectacle sometimes overshadowed the depth of character development seen in Greek tragedy.

Symbolic and didactic, with actors representing abstract ideas or religious figures: Acting in Medieval Theatre was straightforward and focused on delivering moral lessons. Characters were often allegorical, representing abstract concepts such as Death, Justice, or the Seven Deadly Sins. Performances were less about individual character development and more about illustrating the consequences of moral choices. Actors often delivered lines directly to the audience, emphasising the instructive nature of the performance.

Actor-Audience Relationship

The audience was part of a communal experience, often linked to religious festivals: In Greek Theatre, the audience played an active role in the performance, both as participants in the religious festival and as critical observers of the drama. The communal nature of the theatre, particularly in the context of the City Dionysia, fostered a collective experience of catharsis and reflection. The themes of the plays were often relevant to contemporary social and political issues, encouraging the audience to engage with the material on a personal and civic level.

The audience was entertained by spectacle and often participated in larger public events: Roman audiences were primarily spectators of the spectacle, with theatre serving as one of many forms of public entertainment provided by the state. Theatre performances were often part of larger festivals that included gladiatorial games, chariot races, and other public spectacles. The relationship between the actors and the audience was less intimate than in Greek Theatre, with the focus more on visual and sensory stimulation than on philosophical engagement.

The audience was primarily a congregation, expected to learn and internalise the moral and religious teachings: In Medieval Theatre, the audience was seen as a congregation rather than mere spectators. The plays were designed to reinforce Christian doctrine and moral teachings, with the audience expected to reflect on their own lives in light of the lessons presented. The relationship between the performers and the audience was didactic, with the goal of guiding the audience toward spiritual and moral improvement.

Medieval Pageant Wagon — Medieval pageant wagon.

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Themes and Subject Matter

Explored fate, the gods, heroism, human flaws, and moral dilemmas: Greek Theatre often focused on themes of fate and divine will, with tragic plays exploring the consequences of human hubris and the inevitable downfall of those who defy the gods. The struggles of heroes like Oedipus and Antigone highlighted the tension between individual will and cosmic order. Comedies, on the other hand, tackled social and political issues, often using satire to criticise the status quo and offer insights into the human condition.

Focused on power, entertainment, and spectacle, often adapting Greek themes with more emphasis on visual elements: Roman Theatre continued to explore themes of power and morality but often did so with a greater emphasis on entertainment and spectacle. The themes of Roman tragedies often involved political intrigue, betrayal, and revenge, reflecting the concerns of a society that valued honour and reputation. Comedies dealt with more mundane issues such as family life, social status, and love, but always with a humorous and sometimes bawdy twist.

Centred on Christian morality, salvation, and the battle between good and evil: Medieval Theatre was deeply rooted in Christian theology, with plays focusing on the moral and spiritual struggles of individuals. The themes often involved the conflict between good and evil, the temptations of the flesh, and the consequences of sin. Mystery plays depicted biblical narratives, from the Creation to the Last Judgement, while Morality plays offered allegorical journeys of the human soul, teaching lessons about virtue, repentance, and redemption.

Influence on Later Theatre

Laid the groundwork for Western drama, influencing the development of tragedy, comedy, and dramatic structure: Greek Theatre set the stage for the development of Western drama, establishing the conventions of tragedy and comedy that would be adopted and adapted by later cultures. The use of the chorus, the focus on character and moral dilemmas, and the structure of plays into acts and scenes became foundational elements of Western theatre, influencing playwrights from the Renaissance to the modern era.

Contributed to the expansion of theatre as a form of mass entertainment and spectacle, influencing later popular theatre and public performances: Roman Theatre’s emphasis on spectacle and entertainment had a lasting impact on the development of popular theatre, particularly in the use of elaborate stage machinery, public games, and large-scale performances. The influence of Roman comedy can be seen in later European farce and commedia dell’arte, while Roman tragedy influenced Renaissance playwrights such as Shakespeare and Marlowe.

Provided the foundation for religious and morality-based drama in Europe, influencing the development of Renaissance theatre and beyond: Medieval Theatre’s focus on moral instruction and its use of allegory had a profound influence on later European drama, particularly during the Renaissance. The themes and structures of Morality plays can be seen in the works of Shakespeare and his contemporaries, while the pageantry of the Mystery plays laid the groundwork for the grand historical dramas of the Elizabethan and Jacobean stages.

Notable Works

Tragedies: “Oedipus Rex” by Sophocles, “The Oresteia” by Aeschylus, “Medea” by Euripides. Comedies: “Lysistrata,” “The Clouds,” and “The Frogs” by Aristophanes.

Comedies: “The Menaechmi” by Plautus, “Adelphi” by Terence. Tragedies: “Thyestes” by Seneca, “Phaedra” by Seneca.

Mystery Plays: The York Mystery Plays, The Chester Mystery Plays. Morality Plays: “Everyman,” “The Castle of Perseverance.” Miracle Plays: “St. Nicholas” (from The Golden Legend).

Comparative Table of Greek, Roman and Medieval Theatre – STANDARD VERSION

This standard version of the comparative table is more straightforward and recommended for most students.

Aspect	Greek Theatre	Roman Theatre	Medieval Theatre
Period	5th – 4th century BCE. Developed during the Classical period in ancient Greece. Key playwrights: Aeschylus, Sophocles, Euripides, Aristophanes.	3rd century BCE – 5th century CE. Heavily influenced by Greek theatre but with more spectacle. Key playwrights: Plautus, Terence, Seneca.	5th – 15th century CE. Emerged after the Roman Empire’s fall, tied to Christian Church. Expanded to secular themes with Mystery, Morality, and Miracle plays.
Origins	Developed during religious festivals dedicated to the god Dionysus. Tragedies, comedies, and satyr plays performed in large amphitheatres.	Adapted Greek theatre with added spectacle, including gladiatorial combat and naval battles. Roman theatre became a political tool to entertain and gain favour.	Started as religious plays within churches, illustrating Bible stories. Later moved to town squares and used to teach Christian values.
Philosophical Foundations	Focused on mythology, fate, human nature, and morality. Explored human flaws and the consequences of defying the gods.	Less focused on philosophy, more on entertainment. Roman plays used humour and farce, with less emphasis on moral lessons compared to Greek tragedies.	Rooted in Christian doctrine, designed to teach religious and moral lessons. Themes often dealt with good vs. evil and salvation.
Purpose of Theatre	To educate, entertain, and honour the gods, exploring moral dilemmas. Theatre also encouraged public debate and reflected democratic values.	Primarily to entertain the masses with spectacle and comedy. Roman theatre was also used for political propaganda.	To teach Christian values and reinforce Church teachings through allegorical narratives. Also reflected social and economic concerns of the time.
Approach to Characterisation	Archetypal characters like gods, heroes, and tragic figures (e.g., Oedipus, Antigone). Characters evoked pity and fear, leading to catharsis.	Used similar archetypes but more focused on spectacle and humour. Roman comedies featured exaggerated characters for comedic effect (e.g., clever slave, braggart).	Characters represented virtues, vices, and religious figures. Morality plays personified abstract qualities like Death, Virtue, and Vice to convey lessons.
Narrative Structure	Greek tragedies had a structured format (prologue, parodos, episodes, stasimon, exodus). Comedies were more flexible but often used the chorus to narrate.	Roman tragedies followed a five-act structure with more scenes for spectacle. Roman comedies were complex, with plots involving misunderstandings and disguises.	Episodic and cyclical, often retelling biblical stories or moral allegories. Morality plays traced a journey from sin to redemption, such as in “Everyman.”
Dialogue	Poetic, formal, and written in verse. Greek dialogue explored philosophical and moral questions.	Adapted from Greek, using elevated language in tragedy but more comedic and casual dialogue in comedies. Latin became the main language.	Direct and didactic. Often used symbolism and straightforward language to teach religious lessons, making it accessible to everyone.
Staging and Set Design	Large outdoor amphitheatres with minimal sets. Relied on masks, costumes, and the chorus to create atmosphere.	Elaborate stages in large arenas, using mechanical devices for special effects like sea battles. More detailed scenery than Greek theatre.	Performed in churches and public spaces. Sets were often symbolic (heaven and hell), with simple backdrops. Pageant wagons were used for performances.
Theatrical Innovations	Introduced the chorus, masks, and developed tragedy and comedy genres.	Expanded on Greek theatre with more spectacle and introduced forms like pantomime. Public games and mock battles became part of the theatre experience.	Introduced religious and moral themes in drama. Developed Morality plays that personified abstract concepts like Virtue and Vice, influencing later historical drama.
Acting Style	Highly stylised, with actors using masks and formal gestures to portray emotion. The chorus played a key role in narration and moral guidance.	More exaggerated and physical, with an emphasis on spectacle. Actors used broad gestures and physical comedy to engage audiences.	Focused on delivering moral lessons, often through symbolic characters. Performances were direct, with actors representing abstract ideas.
Actor-Audience Relationship	Audiences were part of a communal experience, often linked to religious festivals. The themes of the plays encouraged reflection on social and political issues.	Audiences were mainly spectators of spectacles and public events. Theatre performances were part of larger public entertainments like gladiatorial games.	The audience was seen as a congregation learning religious lessons. Theatre reinforced Church doctrine, guiding the audience’s moral and spiritual improvement.
Themes and Subject Matter	Focused on fate, gods, heroism, and moral dilemmas. Greek tragedies often dealt with hubris and consequences. Comedies used satire to address social and political issues.	Roman theatre focused more on power and spectacle. Tragedies dealt with political intrigue and revenge, while comedies explored family life and social status.	Centered on Christian morality, salvation, and the battle between good and evil. Mystery and Morality plays conveyed biblical narratives and moral lessons.
Notable Works	Tragedies: Oedipus Rex by Sophocles, Medea by Euripides. Comedies: Lysistrata by Aristophanes.	Comedies: The Menaechmi by Plautus, Adelphi by Terence. Tragedies: Thyestes by Seneca.	Mystery Plays: The York Mystery Plays. Morality Plays: Everyman. Miracle Plays: St. Nicholas.

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