This paper intends to analyse some of the aspects which led to a continuous existence and popularity of theatrical spectacles in Late Antiquity - a period which according to the patristic discourse was rather characterised by an ongoing critique of the theatre. However, the literary, archaeological and epigraphical record clearly shows that theatrical shows continued to flourish and several factors can be taken into account for this survival, three of which shall be presented in this paper:
1) The "secularisation" of late ancient spectacles enabled the participation of Christian believers and made possible a support by the emperors. Although several church fathers villainised shows of mime and pantomime as a display of pagan ideology and immoral myths, there is no real accusation of an actual cult practice nor any evidence for it. From a religious and legal point of view, theatrical spectacles were therefore not in real conflict with the prohibition of paganism.
2) Stage business usually is a very flexible genre and ready to adapt itself to new circumstances, surroundings or topics of the day. This advantage also seems to have obtained in the case of the late antique theatre: On the one hand, archaeological evidence suggests the appearance of new sorts of water spectacles in some theatres of the East, which probably secured attraction despite growing adversity. On the other hand, themes displayed on stage adjusted themselves to a Christian environment and thus offered mockeries on clergymen and Christian rituals.
3) This characteristic leads to a third aspect which could be named "theatre as heterotopy". The mime genre, in particular, offered a place of parody and laughter which - not unlike modern times - forms an attractive sphere of emotional relaxation and of taking serious business in a humourous way. In this sense it was also a social entertainment which was set apart from the increasing Christian way of life and provided a way to celebrate one's community in a non-religiously charged surrounding. On the other hand, pantomimic entertainment still provided a background for telling classical stories and myths which might have offended the feelings of certain church fathers, but which continued to be cultivated within all educated groups of society.
1) The "secularisation" of late ancient spectacles enabled the participation of Christian believers and made possible a support by the emperors. Although several church fathers villainised shows of mime and pantomime as a display of pagan ideology and immoral myths, there is no real accusation of an actual cult practice nor any evidence for it. From a religious and legal point of view, theatrical spectacles were therefore not in real conflict with the prohibition of paganism.
2) Stage business usually is a very flexible genre and ready to adapt itself to new circumstances, surroundings or topics of the day. This advantage also seems to have obtained in the case of the late antique theatre: On the one hand, archaeological evidence suggests the appearance of new sorts of water spectacles in some theatres of the East, which probably secured attraction despite growing adversity. On the other hand, themes displayed on stage adjusted themselves to a Christian environment and thus offered mockeries on clergymen and Christian rituals.
3) This characteristic leads to a third aspect which could be named "theatre as heterotopy". The mime genre, in particular, offered a place of parody and laughter which - not unlike modern times - forms an attractive sphere of emotional relaxation and of taking serious business in a humourous way. In this sense it was also a social entertainment which was set apart from the increasing Christian way of life and provided a way to celebrate one's community in a non-religiously charged surrounding. On the other hand, pantomimic entertainment still provided a background for telling classical stories and myths which might have offended the feelings of certain church fathers, but which continued to be cultivated within all educated groups of society.
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