Theatre vs Performance.

Theatre and Performance appear to be two classes of the same kingdom. In this kingdom, theatre occupies the position of the upper class, while performance takes on the middle class position. I gave theatre the position of the upper class because it is in the business of producing canonical works via which the standard of a theatrical activity is assessed. Not unlike old money, theatre relies on the accomplishments of its forebears to maintain a benchmark for the current standard of operation. Performance was given the position of the middle class because it is in the business of challenging said benchmarks and exploring new avenues for creation. Rather than relying on a standard, performance prefers to adapt itself to the ever-changing schematic of society, often including works that do not conform to what is traditional. 

Under the law of this kingdom therefore, theatre is best defined as an ancient art form through which society is acknowledged and reflected upon via a series of previously defined actions guided by an undisputed manual. Performance on the other hand, can be thought of as continuously defined behavior which seeks to dispute this single standard of operation. Although the upper and middle classes are often at loggerheads, they cannot exist apart from each other. To keep the peace, the kingdom is protected by three deadly ninja watchmen known as the stage, the characters, and the audience. These watchmen even out the playing field and create a space for dialogue between the two entities whenever they meet to compare their work. During these meetings, theatre provides a framework for performance to stretch and challenge, while performance provides theatre with fresh innovations to prevent theatre’s ever-looming extinction. To this effect, I would go so far as to claim theatre can simply exist while performance does the work of calling a certain consciousness to theatre's existence.

There is something that needs to be said about this framework however; it is inescapable. No matter how hard performance attempts to break away from the framework, it cannot avoid the deadly three ninja watchmen of the kingdom. As soon as anything is performed, it is immediately defined as a performance by a stage, an audience and characters (even if it does not desire to identify itself through these terms). Theatre on the other hand, also tries to evade the watchmen by adopting the innovations of Performance. As a result, the work of theatre and performance has been mingled so often that it is difficult to distinguish one from the other. Indeed, it is nearly impossible to speak of theatre without the word “performance” jumping in, and the other way around. Examples of these mixtures include; “Theatrical Performance” and “Performative Theatre.”

Perhaps there was a clear distinction between the two some ages ago, but it would appear that this has been lost with the progression and development of the kingdom. Although there may be distinguishable features in each, these are only made apparent in a particular context.

The art of war for example, can be called “theatrical” because of its proclivity towards entertainment and profit. Theatrical elements of war are punctuated by the conflict’s ability to: 

a) Take a stage. (In politics, religion, economics etc.)

b) Create/elevate characters (protagonist, antagonist, chorus) 

c) Have an audience to witness the whole thing unfold. 

The battle is served up in all its bloody glory to a horrified-yet-enchanted audience. Soldiers perform the roles of heroes or pawns, and the opposing side plays the enemy in this drama of the state.

The “performance” aspect emerges through the machinery employed by the state and its inhabitants, to call consciousness to effects of the war’s theatrical aspects. Anti-war rallies, boycotts, riots, press conferences, peace talks et cetera remind the war that it is taking place, and can use this power of consciousness to affect its course.

This “theatrical performance” can continue for years to come as we continue to respond to the war in retrospect. The response can take the shape of war reenactments, movies, video games, poetry, books, merchandise and so forth. In this way, the art of war can be simultaneously theatrical and performative. The kingdom remains at the grand impasse which ensures its survival.