Antitheatricality

Antitheatricality is any form of opposition or hostility to theater. Such opposition is as old as theater itself, suggesting a deep-seated ambivalence in human nature about the dramatic arts. Jonas Barish's 1981 book, The Antitheatrical Prejudice, was, according to one of his Berkeley colleagues, immediately recognized as having given intellectual and historical definition to a phenomenon which up to that point had been only dimly observed and understood. The book earned the American Theater Association's Barnard Hewitt Award for outstanding research in theater history. Barish and some more recent commentators treat the anti-theatrical, not as an enemy to be overcome, but rather as an inevitable and valuable part of the theatrical dynamic.

Antitheatrical views have been based on philosophy, religion, morality, psychology, aesthetics and on simple prejudice. Opinions have focussed variously on the art form, the artistic content, the players, the lifestyle of theater people, and on the influence of theater on the behaviour and morals of individuals and society. Anti-theatrical sentiments have been expressed by government legislation, philosophers, artists, playwrights, religious representatives, communities, classes, and individuals.

The earliest documented objections to theatrical performance were made by Plato around 380 B.C. and re-emerged in various forms over the following 2,500 years. Plato's philosophical objection was that theatrical performance was inherently distanced from reality and therefore unworthy. Church leaders would rework this argument in a theological context. A later aesthetic variation, which led to closet drama, valued the play, but only as a book. From Victorian times, critics complained that self-aggrandizing actors and lavish stage settings were getting in the way of the play.

Plato's moral objections were echoed widely in Roman times, leading eventually to theater's decline. During the Middle Ages, theatrical performance gradually re-emerged, the mystery plays accepted as part of church life. From the 16th century onwards, once theater was re-established as an independent profession, concerns were regularly raised that the acting community was inherently corrupt and that acting had a destructive moral influence on both actors and audiences. These views were often expressed during the emergence of Protestant, Puritan and Evangelical movements.

Around 400 B.C. the importance of Greek drama to ancient Greek culture was expressed by Aristophanes in his play, The Frogs, where the chorus leader says, "There is no function more noble than that of the god-touched Chorus teaching the city in song". Theater and religious festivals were intimately connected.

Around 380 B.C. Plato became the first to challenge theater in the ancient world. Although his views expressed in The Republic were radical, they were aimed primarily at the concept of theater (and other mimetic arts). He did not encourage hostility towards the artists or their performances. For Plato, theater was philosophically undesirable, it was simply a lie. It was bad for society because it engaged the sympathies of the audience and so might make people less thoughtful. Furthermore, the representation of ignoble actions on the stage could lead the actors and the audience to behave badly themselves.

Philosophically, acting is a special case of mimesis (μίμησις), which is the correspondence of art to the physical world understood as a model for beauty, truth, and the good. Plato explains this by using an illustration of an everyday object. First there is a universal truth, for example, the abstract concept of a bed. The carpenter who makes the bed creates an imperfect imitation of that concept in wood. The artist who paints a picture of the bed is making an imperfect imitation of the wooden bed. The artist is therefore several stages away from true reality and this is an undesirable state. Theater is likewise several stages from reality and therefore unworthy. The written words of a play can be considered more worthy since they can be understood directly by the mind and without the inevitable distortion caused by intermediaries.

Psychologically, mimesis is considered as formative, shaping the mind and causing the actor to become more like the person or object imitated. Actors should therefore only imitate people very much like themselves and then only when aspiring to virtue and avoiding anything base. Furthermore, they must not imitate women, or slaves, or villains, or madmen, or 'smiths or other artificers, or oarsmen, boatswains, or the like'.