in the "Theological" Theater
I argue throughout this book that the historical relationship between puppet theater and the human stage suggests the essential identity of so-called popular or elite practices within a master field of cultural distinction. This cultural field, I assume throughout, is radically contingent on prevailing patterns of social domination and conditioned by recurrent metaphysical and theological habits of thought. Here at the outset I consider how the puppet becomes a topos or conventional image in various discourses from antiquity to the early modern period, including Plato's dialogues, the anti-pagan polemics of the church fathers, and the discourses of witchcraft and religious reformation in the sixteenth century.In these disparate examples the process by which a "performing" object is animated or "in-spired" by some external authority becomes a model not only of theatrical performance but of representation itself; and puppetry as an observed popular practice is judged, defined, invested with particular social meanings, and inscribed in a system of cultural value.
Plato and the Hierarchy of Representation
Do you see that the spectator is the last of the rings I spoke of, which receive their force from one another by virtue of the loadstone? You, the