Jul 31

Theatre’s Place in Politics: Does It Exist and How?

By Rose Cunningham

Theatre and politics are two passions of mine, though recently, I’ve begun to notice a blurred line forming between the two. On one side - the spectacle of politics, its exaggerated campaigns and attempts at persuasion, harsh words and promises being shown on the front pages of every newspaper; on the other - the influence of theatre, messages about morals, how to be, showing off new ideas and challenging the morals of our world.

Theatre and politics have deep historical connections, reaching back to the “players” of ancient Greece, where the theatre was extravagant for the time, and the orators, akin to the earliest politicians, also needed to compete for the attention of the masses. In the amphitheatres of Athens, playwrights like Sophocles used tragedy to critique political leaders and societal norms, often exploring the ancient world's morals and ethics. Another Greek philosopher and playwright, Aristotle, in regard to theatre’s place in ancient Greek society, declared “This is the point to which, above all, the attention of our rulers should be directed: that music and gymnastics be preserved in their original form and no innovation be made … any musical innovation is full of danger to the whole State and ought to be prohibited ... [because] when modes of music change, the fundamental laws of the State always change with them”. This quote continues to ring true, perhaps more than ever. This tradition established theatre as a powerful medium for political exploration and set up its continual political power which is still prominent in the modern age.

Throughout history, theatre has served as a mirror to society, reflecting and often challenging the status quo. Its unique ability to engage audiences in a live, communal experience makes it an ideal platform for exploring political ideas and fostering civic engagement. Contemporary theatre continues to force audiences to grapple with various ideas, and also remind the modern population of some of the most important messages, such as the universality of human kindness, which in a world that can feel increasingly more unstable, is perhaps more important than ever. One example of this (and one of my favourite shows I’ve ever seen), is “Come From Away”. Set in the aftermath of 9/11, Come From Away depicts the kindness extended to people whose

flights were diverted to Gander in Newfoundland. This hilarious, lighthearted

musical showcases the power of friendship, even though it may arise from unpleasant circumstances, and focuses on the incredible connections and stories shared when a touch of tolerance, and a willingness to connect get thrown into a tumultuous period.

“& Juliette” is a modern adaptation of Shakespeare’s “Romeo and Juliette”, which demonstrates how canonical works (as any Extension English students will know)

can be manifested into a new version to address the political climate of both the time in which the original was produced - and the time for which they will be performed. By focusing on female empowerment and challenging traditional gender roles, the production engages with current debates surrounding feminism and gender equality, showcasing theatre's ability to reinterpret canonical texts through a modern lens. By doing this, theatre can prompt discussion surrounding many movements, and allow for these political ideas to be picked up on in a fun and engaging way.

The intersection of theatre and activism has become increasingly prominent in recent years, with many theatre practitioners viewing their work as a form of political engagement. This can take various forms, from explicitly political productions to community-based theatre projects that address local issues. Some theatre companies have embraced participatory techniques that actively involve audiences in exploring political themes, blurring the lines between performance and civic action. For instance, forum theatre, developed by Augusto Boal, allows audience members to intervene in the performance and suggest alternative solutions to social problems, while “The City We Make Together” allows audiences to get involved in issues that were specific to their city, and mimic local meetings, and decide on a potential solution- that would work for their area.

Furthermore, the theatre has the capacity to bring stories to a new audience. Last year, my family and I went to see the Sydney Theatre Company’s production of “Julia”, which tells the story of Julia Gillard. Though I was one of the youngest in the audience by a fair while, this play could engage an audience who perhaps isn’t interested in politics, or one who wasn’t aware of the sheer impact of Gillard’s famous “Misogyny Speech”, thus allowing its vibrancy and purpose to be reignited, or shine a little bit brighter.

The role of theatre in political discourse extends beyond the content of individual productions to the very structure of the industry itself. The push for diversity and representation in casting and creative roles reflects broader political movements for equality and inclusion. Productions that challenge traditional casting norms or tell stories from underrepresented perspectives contribute to ongoing political discussions about representation and cultural identity. Choices made by theatre companies and producers about which plays to produce and which voices to amplify can often be political in one way or another, shaping public discourse and serving as a barometer for societal changes.

From its roots in ancient Greece to contemporary productions addressing pressing global issues, theatre continues to serve as a powerful medium for political expression, social commentary, and civic engagement. By bringing diverse ideas to new audiences, challenging assumptions and intersecting with activism, theatre plays a crucial role in shaping political discourse and social change. As we navigate increasingly complex political landscapes, the stage remains a vital space for education, debate and imagination, offering both a mirror to our society and a window into possible futures. The blurred line between theatre and politics is not a limitation but an opportunity for powerful, thought-provoking art that can inspire, educate, and potentially transform the world.

References

Theatre’s Place in Politics: Does It Exist and How?

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