Little is known about theatre in the West from the 6th through the 10th century ce. By the end of the 12th century, it was being performed in found spaces such as village greens, churches, churchyards, halls, and the ruins of Roman amphitheatres. Found spaces were used much as flexible theatres are today in that they could be configured as arena theatres, as any variety of thrust stage theatre, as end stage theatres, or even as surround stage or promenade spaces. The only form that is not found in the Middle Ages is the proscenium theatre. By the late Middle Ages, temporary theatres were also being constructed in market squares, at stations along streets, and in open areas in or just outside cities. What made medieval theatre so adaptable was multiple setting (décor simultané), a staging technique that used localized scenic structures (mansions, or houses) and a generalized stage area. Individual mansions represented a location required for a performance, from “heaven” to “Jerusalem” to “hell.” These could be arranged in any configuration, from straight lines to circles to a number of other shapes, or they could be put on wagons and moved from one location to another. The only requirement was that the mansions face an open stage, or “place,” which then took on the identity of whatever mansion was in use. When characters entered from the Garden of Eden mansions, for instance, the entire stage became the Garden of Eden, and all other mansions in view of the audience were ignored.
By the late Middle Ages, temporary seating areas were being constructed in market squares, at stations along streets where pageant wagons were to stop, in various kinds of halls, and in fields just outside many cities. The earliest such theatre for which any record exists is a theatre-in-the-round illustrated in a manuscript of the English morality play The Castle of Perseverance (c. 1400–25). This document appears to call for the construction of a round theatre of mounded earth, though this interpretation is disputed. Another early example comes from two illustrations by the French artist Jean Fouquet. He made miniatures called Martyrdom of Saint Apollonia (c. 1460) and The Rape of the Sabines (c. 1477). In both illustrations a number of tournament stands—which consist of small platforms supported by four posts—are arranged in a polygonal half circle around an open stage area. These platforms stand 8 to 12 feet (2.5 to 3.6 metres) above the ground. In Martyrdom of Saint Apollonia, the tournament stands are occupied by mansions, musicians, and what appear to be actors waiting to enter the central stage area, while the audience stands or sits below. In The Rape of the Sabines, both the stands and the area below them are occupied by audience. Whether these are illustrations of an actual theatre of the time or merely fanciful illustrations of the artist’s conception of a Roman theatre is unknown.
The most complex architectural forms to be developed from medieval theatre were not actually built until the 16th century, when large open-air end stage theatres were built at places such as Valenciennes in France and as a type of “theatre all around” set up in market squares, such as at Lucerne in Switzerland. But by this time there had already been an explosion of new developments in theatre design brought about by the Renaissance.