“The notion, popularized by classicist and romanticist critics alike, of the Attic theatre as the perfect example of a national theatre, and of its audiences as realizing the ideal of a whole people united in support of art, is a falsification of historical truth.33 The festival theatre of Athenian democracy was certainly no ‘people’s theatre’ —the German classical and romantic theorists could only represent it as such, because they conceived the theatre to be an educational institution. The true ‘people’s theatre’ of ancient times was the mime, which received no subvention from the state, in consequence did not have to take instructions from above, and so worked out its artistic principles simply and solely from its own immediate experience with the audiences. It offered its public not artistically constructed dramas of tragi-heroic manners and noble or even sublime personages, but short, sketchy, naturalistic scenes with subjects and persons drawn from the most trivial, everyday life. Here at last we have to do with an art which has been created not merely for the people but also in a sense by the people. Mimers may have been professional actors, but they remained popular and had nothing to do with the educated élite, at least until the mime came into fashion. They came from the people, shared their taste and drew upon their common sense. They wanted neither to educate nor to instruct, but to entertain their audience. This unpretentious, naturalistic, popular theatre was the product of a much longer and more continuous development, and had to its credit a much richer and more varied output than the official classical theatre; unfortunately, this output has been almost completely lost to us. Had these plays been preserved, we should certainly take quite a different view of Greek literature and probably of the whole of Greek culture from that taken now. The mime is not merely much older than tragedy; it is probably prehistoric in origin and directly connected with the symbolic-magical dances, vegetation rites, hunting magic, and the cult of the dead. Tragedy originates in the dithyramb, an undramatic art form, and to all appearances it got its dramatic form—involving the transformation of the performers into fictitious personages and the transposition of the epic past into present —from the mime. In tragedy, the dramatic element certainly always remained subordinate to the lyrical and didactic element; the fact that the chorus was able to survive shows that tragedy was not exclusively concerned to get dramatic effect and so was intended to serve other ends than mere entertainment.” ArtPoliticsEducationTragedyEntertainmentPropagandaMimeGreek TheaterPeople S ArtArt And Politic Book:The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages Source: The Social History of Art, Volume 1: From Prehistoric Times to the Middle Ages
“But the artistic program of the Counter Reformation, the propagation of Catholicism through the medium of art among the braod masses of the population, is frist accomplished by the baroque. It is obvious that what was in the mind of the Council of Trent was not an art which, like mannerism, appealed merely to a thin stratum of intellectuals, but a people's art, such as the baroque in fact became. At the time time of the Council, mannerism was the most widespread and the most live form of art, but it in no way represented the particular direction which was best calculated to solve the artistic problems of the Counter Reformation. The fact that it had to yield to the baroque is to be explained, above all, by its inability to master the ecclesiastical tasks committed to art by the Counter Reformation.” BaroqueMannerismCounter ReformationPeople S Art Book:The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque Source: The Social History of Art: Volume 2: Renaissance, Mannerism, Baroque