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"Antitheatrical prejudice" refers to the notion that there has been enmity against theater and theater-making artists in the Western world. The theory was first formulated by Jonas Barish, scholar of theater history, in his book ''The Antitheatrical Prejudice.''' Often, at the height of theater's popularity in a historic moment, when the theater's ability to serve as a positive force for community is felt, the converse of antitheatrical prejudice is also concurrent. Many Western languages regarding acting, theatricality, operatic, melodramatic, and making a spectacle of oneself have negative, hostile, or belittling connotations. In French, ''joust la comedie'' is dismissive of a theatrical act and if one is behaving properly, not theatrically or falsely. In Italian, he may be ''fare la commedia,'' and in German, ''sich in Szene setzen''—all with origins in the course of theatre history. Much of Barish's argument relates to the theater's ability to stir enjoyment, incite potentially problematic action, to wrestle with problems stemming from the act of mimesis, and from a distrust of the profession of acting. Barish also identifies antitheatrical tendencies amongst theater makers themselves, including but not limited to playwright Ben Jonson, actor and director Constantin Stanislavski, who equates theatricality with a negative sense of the conventional or over-acting, and playwright George Bernard Shaw, who once stated, "The curse of our stage at present is the shameless prostitution of the art of acting into the art of pleasing. The actor wants 'sympathy': the actress wants affection. They make the theatre a place where the public comes to look at its pets and distribute lumps of sugar to them." With the seminal ''Antitheatrical Prejudice'' Barish intends to prove that "The durability of the prejudice would seem to reflect a basic attitude toward the lives of men in society that deserves to be disengaged and clarified... The ultimate hope (the book ) is to illuminate if possible the nature of the theatrical, and hence, inevitably, of the human." Barish states that "The theater being the most volatile of the arts, the most telling in its impact, the most provocative of mass emotion, as well as the most productive of visible disorder in the lives of its practitioners, who must move in a perpetual glare of artificial light and public curiosity, it tends to provoke the sternest dismissals from those whose true suspicion is of the unfettered imagination in any form. Those who have most darkly mistrusted the theater--Plato, the Puritans, the Jansenists, Jean-Jacques Rousseau--have tended to see in it a paradigm case for what is baleful in all the arts." In a more contemporary sense, scholar Eileen Fisher finds matters of the antitheatrical to be wholly "internal spats, self criticism from theater practitioners and fine critics. Such 'prejudices' are usually based upon aesthetic dismay at our theaters' rampant commercialism, general triteness, boring star-system narcissism, and overreliance on Broadway-style spectacle and razzmatazz." ==Plato and Ancient Greece== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Antitheatrical prejudice」の詳細全文を読む スポンサード リンク
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