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The art of drama developed in the ancient Greek city-state of Athens in the late sixth century B.C. From the religious chants honoring Dionysus arose the first tragedies, which centered on the gods and Greece’s mythical past. In the fifth century, Greek audiences enjoyed the works of four master playwrights; of these, three—Aeschylus, Sophocles, and Euripides—were tragedians. 
The early works focused on the good and evil that existed simultaneously in the world as well as the other contradictory forces of human nature and the outside world. All three tragic playwrights drew their material from Greek myths and legends; they each brought new developments to the art form. Aeschylus, whose Oresteia trilogy examines the common tragic themes of vengeance and justice, brought tragedy to the level of serious literature. Sophocles wrote perhaps the greatest tragic work of all time, Oedipus the King. The last great tragedian, Euripides, questioned traditional values and the ultimate power of the gods. In plays such as Medea and Antigone, Euripides explores the choices that humans make under difficult situations. C. M. Bowra pointed out in his book Classical Greece that “Greek tragedy provides no explicit answers for the sufferings of humanity, but it . . . shows how they happen and how they may be borne.” Indeed, Sophocles’ Oedipus the King expresses a truly sorrowful course of events and how one man, though his life is devastated, forges a new identity and learns to live with himself. The myth of Orestes, as seen in Aeschylus’s Oresteia trilogy and Euripides’ Orestes introduces other major themes in Greek tragedy, namely justice (divine, personal, and communal) and vengeance. 
Greek drama created an entirely new art form, and over the centuries, the works of these ancient Greek writers have influenced and inspired countless writers, philosophers, musicians, and other artists and thinkers. Greek drama, with its universal themes and situations, continues to hold relevance for modern audiences.
Comedy most likely also developed out of the same religious rituals as tragedy. Aristophanes was the greatest writer of comedies in the early period known as Old Comedy. He used biting satire in plays such as Birds and Lysistrata to ridicule prominent Athenian figures and current events. Later comedy relied less on satire and mythology and more on human relations among the Greek common people.
Tragedy was at its height in Greek society when that society was at its height, while comedy—an outlet for the frustrations of society as well as a diversion for the masses—was most popular during the decline of Greek government.
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.
