Theatre of ancient Rome in the context of "Architectural form"

The Secular or Saecular Games (Ludi Saeculares) was an ancient Roman religious celebration involving sacrifices, theatrical performances, and public games (ludi). It was held irregularly in Rome for three days and nights to mark the ends of various eras (saecula) and to celebrate the beginning of the next. In particular, the Romans reckoned a saeculum as the longest possible length of human life, either 100 or 110 years in length; as such, it was used to mark various centennials, particularly anniversaries from the computed founding of Rome.

According to Roman mythology, the Secular Games began as the Tarentine Games (Ludi Tarentini) when a Sabine man called Valesius prayed for a cure for his children's illness and was supernaturally instructed to sacrifice on the Campus Martius to Dis Pater and Proserpina, deities of the underworld. Some ancient authors traced official celebrations of the Games as far back as 509 BC, but the only clearly attested celebrations under the Roman Republic took place in 249 and in the 140s BC. They involved sacrifices to the underworld gods over three consecutive nights. The Games were revived in 17 BC by Rome's first emperor Augustus, with the nocturnal sacrifices on the Campus Martius now transferred to the Moerae (fates), the Ilythiae (goddesses of childbirth), and Terra Mater ("Mother Earth"). The Games of 17 BC also introduced day-time sacrifices to Roman deities on the Capitoline and Palatine hills. Certain sacrifices were unusually specified to be performed by married women. Each sacrifice was followed by theatrical performances. Later emperors held celebrations in AD 88 and 204, after intervals of roughly 110 years. However, they were also held by Claudius in AD 47 to celebrate the 800th anniversary of Rome's foundation, which led to a second cycle of Games in 148 and 248. The Games were abandoned under later Christian emperors.

The Roman Theatre of Mérida is a Roman theatre in the Roman colonia of Emerita Augusta –present-day Mérida, Spain–, capital of the Roman province of Lusitania. Its construction was promoted by the consul Vipsanius Agrippa and was built in 16–15 BCE. It was used for Roman theatrical performances during ancient Rome. Since 1933, it houses the International Festival of Classical Theatre of Mérida [es].

The theatre has undergone several renovations, notably at the end of the 1st century or early 2nd century CE (possibly during the reign of Emperor Trajan), when the current facade of the scaenae frons was erected, and another in the time of Constantine I (between 330 and 340 CE), which introduced new decorative-architectural elements and a walkway around the monument. Following the theatre's abandonment in Late Antiquity, it was slowly covered with earth, with only the upper tiers of seats (summa cavea) remaining visible. In local folklore the site was referred to as "The Seven Chairs", where, according to tradition, several Moorish kings sat to decide the fate of the city.

The theatre of Italy originates from the Middle Ages, with its background dating back to the times of the ancient Greek colonies of Magna Graecia, in southern Italy, the theatre of the Italic peoples and the theatre of ancient Rome. It can therefore be assumed that there were two main lines of which the ancient Italian theatre developed in the Middle Ages. The first, consisting of the dramatization of Catholic liturgies and of which more documentation is retained, and the second, formed by pagan forms of spectacle such as the staging for city festivals, the court preparations of the jesters and the songs of the troubadours.

Renaissance humanism was also a turning point for the Italian theatre. The recovery of the ancient texts, both comedies and tragedies, and texts referring to the art of the theatre such as Aristotle's Poetics, also gave a turning point to representational art, which re-enacted the Plautian characters and the heroes of Seneca's tragedies, but also building new texts in the vernacular.

Ludi (Latin for "games"; plural of ludus) were public games held for the benefit and entertainment of the Roman people (populus Romanus). Ludi were held in conjunction with, or sometimes as the major feature of, Roman religious festivals, and were also presented as part of the cult of state.

The earliest ludi were horse races in the circus (ludi circenses). Animal exhibitions with mock hunts (venationes) and theatrical performances (ludi scaenici) also became part of the festivals. Because some of these entertainments are not competitive "games", ludi may also be translated more generally as "shows".

Fabula palliata is a genre of Roman drama that consists largely of Romanized versions of Greek plays. The name palliata comes from pallium, the Latin word for a Greek-style cloak (himation). It is possible that the term fabula palliata indicates that the actors who performed wore such cloaks. Another possibility is that the fabula itself is metaphorically "cloaked" in a Greek style. As in all Roman drama, the actors wore masks that easily identified which of the stock characters they represented.

Lucius Livius Andronicus (/ˈlɪviəs/; Greek: Λούκιος Λίβιος Ανδρόνικος; c. 284 – c. 204 BC) was a Greco-Roman dramatist and epic poet of the Old Latin period during the Roman Republic. He began as an educator in the service of a noble family, producing Latin translations of Greek works, including Homer's Odyssey. The translations were meant, at first, as educational devices for the school which he founded. He also wrote works for the stage—both tragedies and comedies—which are regarded as the first dramatic works written in the Latin language. His comedies were based on Greek New Comedy and featured characters in Greek costume. Thus, the Romans referred to this new genre by the term comoedia palliata or fabula palliata, meaning "cloaked comedy," the pallium being a Greek-style cloak. The Roman biographer Suetonius later coined the term "half-Greek" of Livius and Ennius (referring to their genre, not their ethnic backgrounds). The genre was imitated by later generations of playwrights, and Andronicus is accordingly regarded as the father of Roman drama and of Latin literature in general; that is, he was the first man of letters to write in Latin. Varro, Cicero, and Horace, all men of letters during the subsequent Classical Latin period, considered Livius Andronicus to have been the originator of Latin literature. He is the earliest Roman poet whose name is known.

In English literature, the term comedy of manners (also anti-sentimental comedy) describes a genre of realistic, satirical comedy that questions and comments upon the manners and social conventions of a greatly sophisticated, artificial society. The satire of fashion, manners, and outlook on life of the social classes, is realised with stock characters, such as the braggart soldier of Ancient Greek comedy, and the fop and the rake of English Restoration comedy. The clever plot of a comedy of manners (usually a scandal) is secondary to the social commentary thematically presented through the witty dialogue of the characters, e.g. The Importance of Being Earnest (1895), by Oscar Wilde, which satirises the sexual hypocrisies of Victorian morality.

The comedy-of-manners genre originated in the New Comedy period (325–260 BC) of Classical Greece (510–323 BC), and is known from fragments of works by the playwright Menander, whose style of writing, elaborate plots, and stock characters were imitated by Roman playwrights, such as Plautus and Terence, whose comedies were known to and staged during the Renaissance. In the 17th century, the comedy of manners is best realised in the plays of Molière, such as The School for Wives (1662), The Imposter (1664), and The Misanthrope (1666), which satirise the hypocrisies and pretensions of the ancien régime that ruled France from the late 15th century to the 18th century. In the early 18th century, William Congreve's play The Way of the World (1700) became popular among the public for its strong depiction of the comedy of manners genre.

Amphitryon or Amphitruo is a Latin play for the early Roman theatre by playwright Titus Maccius Plautus. It is Plautus’s only play on a mythological subject. The play is mostly extant, but has a large missing section in its latter portion. The plot of the play involves Amphitryon’s jealous and confused reaction to Alcmena’s seduction by Jupiter, and ends with the birth of Hercules. There is a subplot in which Jupiter's son Mercury, keeping watch outside the house while his father is inside, has fun teasing first Amphitryon's servant Sosia, and then Amphitryon himself.

The play is thought to be relatively late in Plautus's works, probably from the period 190–185 BC. One indication of this is the large amount of sung verse. Another is the description of Alcumena in line 703 as a bacchant, which may be connected with the Senate decree on Bacchanalia of 186 BC. The mention of another play in lines 91–2 may be a reference to Ennius's play Ambracia of 188.