At any rate, whatever was the nature of the reward, in his day
the large emoluments won by Roscius and other popular favorites were
impossible.[60] The effort demanded by the elaborate education of the
actor,[61] in which naturally gesticulation was the most vital element,
was out of all proportion to the precarious reward. A rigid course of
training was prescribed and strenuous exercises were required, for both
actor and orator to keep the voice in proper form.[62] Indeed, Quintilian
advises the budding orator to take instruction in voice production and
gesticulation from the comic actor.[63] For the comic actor was at all
times recognized as livelier and more vivid in his performance than the
tragedian.[64] The two were usually sharply differentiated.[65]
Specialization arose, too, and we hear of actors who confined their
efforts to feminine roles,[66] though naturally every performer was cast
for parts to which his physique was best suited.[67]
It is doubtful whether such an elaborate system had been developed in
Plautus' time, but this much is certain: the comedian was on the stage
lively, energetic and constantly spurred on by the fear of punishment from
the _dominus gregis_ and the violent disapproval of a fickle, tempestuous
and withal exacting public. Polybius[68] relates that the visit of a
troupe of Greek actors to Rome was a failure because of their over-staid
deportment, until, learning the desires of the volatile Italians, they
improvised a vastly more vivid pantomime depicting a mock battle, with
huge success.
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