The decline of Greek government and society coincided with the rise of the Roman Republic and subsequent empire. The Romans borrowed extensively from Greek theatre. Although Roman theatre may not be held in the same high esteem as that of the Greeks, we have inherited much from the influence of the Roman Theatre, including the word "play" itself, which derives from a literal translation of the Latin word ludus, which means recreation or play. Roman theatre took two forms: Fabula Palliata and Fabula Togata. Fabula Palliata were primarily translations of Greek plays into Latin, although the term is also applied to the original works of Roman playwrights based upon Greek plays. We are familiar with the latter from the works of Terence (190-159 B.C.), who introduced the concept of a subplot, enabling us to contrast the reactions of different sets of characters to the same events or circumstances. The Fabula Togata were of native origin, and were based on more broadly farcical situations and humor of a physical nature. An author of some of the better examples of this type of drama is Plautus (c.250-184 B.C.).

Again, perhaps as a reflection of the society itself, performed drama in Rome consisted primarily of Fabula Togata, as well as the spectacles of the gladiators and chariot races made familiar by modern Hollywood treatment of the Roman Empire. Plays of a more serious literary nature continued to be written, but these were not intended to be performed so much as read or recited. Although we have few works by Roman playwrights surviving to us in forms that would lend themselves to revival, the influence of the Roman world on the form of the stage is one which had more lasting effect. The semi-circular orchestra of the Greek theatre came to be eclipsed by the raised stage and the more vigorous style style of acting employed by the performers. However, the greatest impact Rome may have had on the theatre was to lower it in the esteem of the Church -- an impact that was to retard the growth of the dramatic arts for several centuries.

The bent toward low comedy and its mass appeal -- coupled with its association with the entertainment of the arena (which involved the martyrdom of early Christians) -- almost certainly contributed to its disfavor by officials of the early Christian Church. Plays, or ludii were associated with either comedy of a coarse and scurrilous nature, or with pagan rituals and holidays. It was the latter, however, which may account for the survival of theatre through the Middle Ages.