"History of Byzantine theatre"

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Researchers speak of the absence of autonomous theatrical creation in the Byzantine Empire: dramaturgy, stage creation, with original characteristics, important writers and performers.
The Byzantine theatre met only mimes and pantomimes, jesters, semimusic sketches, dances and satiricals for breaks. As Theaterist Walter Puchner points out, (it is) "for performing customs, events, ceremonies that have a spectacular character but cannot be described as manifestations of genuine theatrical life[...].In the main era of Byzantium secular theatre remains a rather abstract vision of scholars without a specific standing."

History of research
The first one to refer to the Byzantine theatre was Constantine Sathas in 1878 in: “”Historical essay on the theatre and music of the Byzantines, i.e. introduction to the Cretan theatre”” The effort of Satha was understood within the ideological context of continuity from antiquity to modern Hellenism. Sathas also founded his view on the French-formed school in the mid-19th century view that the drama of the younger years had its roots in the Christian function of the Middle Ages. The first to disagree with this view was Charles Krumwacher. Mistriiotis before Krumvacher is favorably and critically disposed towards Satha, while in 1907 Tunison (Dramatic traditions of the dark ages, 1907) praises Satha for his crucial contribution to the theatre historiography of the Middle Ages.
John Butieridis( The beginning of the modern theatre The mysteries, Athens, 1925) deny this existence. Venice Kotta follows in her thesis in Paris (1931) Satha. An important station in the whole research is the work of H. Reich on Mimos in 1903 and he follows Satha as well. The ancient mime is followed by the ecclesiastical theatre of the Middle Ages that survives in Byzantium. La Piana rejects Satha because he considers theatrical performances only affect Byzantine iconography. Since the late 19th century hymns of Roman Melodos have been studied and traces of dramatic structure are detected, such as in speeches (Egomion Holy Virgin or Eusebius). Spiridon Lambros publishes a directorial arrangement (scenario) of the Passions of Christ and contributes to the breakdown of the general denial of religious theatre. In 1925 Anthimos Papadopoulos wrote a whole study on Byzantine religious theatre Vogt (1931) argues that the mime theatre was housed in special buildings and survived to Fall despite the Church persecutions. In modern times Alexis Solomon attempts to bridge the theatre of Hellenistic times with the Cretan theatre.

Difficulties in researching the existence of Byzantine theatre
‘Byzantine theatre’ detection is difficult for the following reasons:
A) The absence of texts. The Byzantine “mime theatre” as a highly improvisational and based on the inspiration of the moment had no written texts. . Only