Public spectacles were very popular in Byzantium, and the Byzantines took any opportunity given to watch them. Impromptu performances in streets and squares were widespread, involving jesters, jugglers and acrobats such as tightrope walkers, who performed dangerous stunts. Favourite spectacles also included those performed by tame animals (dogs, monkeys, bears), which were often accompanied by music. In addition, many wild animals such as elephants, rhinos, lions, tigers, etc., were put on display at the hippodrome, often with the encouragement and financial support of emperors. These wild beasts were tamed and trained by special tamers, who were considered responsible for them and were punished if they injured spectators. Part of such spectacles involved individuals of abnormal physique, such as very short people with unusual body proportions (dwarfs), or those whose size and height far exceeded the average (giants); all of these people were paraded through the streets and put on show in markets. In many cases they had been cast out of their homes as undesirable, since anything out of the ordinary created disgust and was perceived as a jinx or bad omen.

In the Early Byzantine period, theatrical performances were put on at the hippodrome and theatres. Constantinople is mentioned as having at least four theatres in the 5th century, the most important of which was the Grand Theatre (Theatrum Maius), founded by Septimius Severus near the palace. Ancient Greek theatre did not continue into Byzantium; all that survived were some fragments of ancient tragedies, which were treated as reading material rather than stage plays. The audience showed a clear preference for mime theatre (mimotheatro) - comical stories on subjects drawn from mythology, daily life or even religious life, in which the actors or mimics performed their parts by body movements, without using many words. There were also actresses, the mimades. In contrast to earlier periods, actors did not wear masks unless playing the role of mythological heroes, though they did paint their faces with strong lines to express emotion. Performances were also accompanied by wind instruments (panpipes and flutes), dances and songs. In general, these performances contained daring innuendos and sought opportunities for actors to appear nude on stage, as in the case of scenes in pools or mock baptisms. The theatre thus ended up being synonymous with vulgarity and acting was considered a very demeaning profession, especially for women. The Fathers of the Church strongly criticized all of these spectacles and recommended that Christians abstain from them. Indeed, the Ecumenical Council in Trullo, held in the late 7th century (691-692), banned the faithful from attending such performances.

The theatre appears to have weakened considerably after the 7th century. On the basis of available evidence it seems that in Middle and Late Byzantium impromptu performances were only held at fairs. At the same time, a new kind of theatre made its appearance, with the aim of teaching and stimulating religious feeling via stories inspired by ancient tragedies or the Old and New Testament (religious drama). The language of these plays was difficult, and was addressed to educated viewers. Some religious works were written to serve the needs of the Orthodox liturgy, and eventually became part of the mass. Such cases are still preserved today: the "Dance of Isaiah" at weddings; the "Washing of the Feet" on Good Friday morning; the Epitaph procession; the Deposition; the door opening ceremony during the Resurrection mass, etc. It seems that other religious performances involving actors were held in churches at this time, such as the Nativity and the Baptism of Christ, and a re-enactment of the martyrdom of the "Three Youths in the Fiery Furnace," for which there is evidence from travellers who visited Agia Sophia in Constantinople. On all accounts, the most important surviving Byzantine play is definitely the Passion, which consists of nine scenes from the life of Christ. The entire text and individual scenes are preceded by staging directions. Another play is The Suffering Christ, which some scholars believe was written by Gregory of Nazianzus.

Between religious drama and folk improvisations there lies an anonymous work entitled The Service of the Profane Goat-Bearded Spanos (abbreviated as Spanos), which was written in metrical form (as a poem) to mimic the hymns of the Orthodox Church, but with indecent words.