The Myth of Theatrical Centralism

This article examines the history of theatre as a continuous tension between the principles of openness and closure. It traces the transformation of theatre from a collective, celebratory spectacle rooted in life to an institutional structure that seeks to regulate aesthetics within a closed symbolic system. Particular attention is given to the shift from Dionysian rituals in public spaces to enclosed architectural settings, which contributed to the formation of the myth of “theatrical specificity” that positioned Greek theatre at the center while marginalizing other cultures.

The study critically engages with Western philosophical discourse, beginning with Aristotle, which established Greek tragedy as the universal origin of theatre while neglecting its shared performative and mythological roots across civilizations. It argues that this perspective is not merely a historical construction but also a mechanism for producing cultural dominance through aesthetics, whereby theatre becomes a metaphysical apparatus that legitimizes the notion of the “center” and excludes alternative cultural expressions.

Accordingly, the article proposes a deconstructive and decolonial re-reading of theatre history, highlighting the interconnected ritualistic and cultural dimensions of performance. It ultimately advances a renewed understanding of theatre as a pluralistic and transcultural phenomenon, rather than a closed Greek legacy.