Theatricalist vs Anti-Theatricalist
A Live debate between Stephen Gosson and Thomas Heywood, transcribed here for your enjoyment.
Gosson:
Stage plays are not to be suffered in a Christian commonwealth (88). They are go against Christianity!
Heywood:
How can you prove they are unchristian? Neither Christ himself, nor any of his sanctified Apostles, in any of their sermons, acts, or documents, so much as named them, or upon any abusive occasion touched them (223). And as for the state of the commonwealth, I never yet could read any history of any commonwealth which did not thrive and prosper whilst these public solemnities were held in adoration (224).
Gosson:
How can you say that the theatre has moral value!? The devil, forseeing the ruin of his kingdom , both invented these shows and inspired men with devices to set them out the better thereby to enlarge his dominion and pull us from God (89). The theatre draws people away from the Church, playing is one of those politic horns which our enemy dosseth against the gospel (91), abandoning sermons to watch baudy and lascivious performances.
Heywood:
Plays do offer moral teachings. What coward to see his countryman valiant would not be ashamed of his own cowardice? (221). The theatre presents countless models of good behaviour in it’s representation of heroic characters such as in heroic Hector, Troilus and Caesar. It inspires people to be better citizens, more courageous and just. Even comedies have the power to make men see and shame at their faults (243) in their ridicule of the foolish and admiration of the wise and witty.
Gosson:
Watching plays doesn’t inspire courage and action! It inspires laziness! We must be persuaded that their idle occupation, having no stout, so strong, so puissant, so mighty an enemy as the word of God (88). Acting is for those who don’t have the strength to do real work. Actors forsake their natural calling to play dress up, just because they vainly desire to walk gentlemanlike (110) instead of getting real, honest work.
Far from advocating strength, the theatre aims to turn people soft and effeminate. Indeed, these outward spectacles effeminate and soften the hearts of men (107-8). Everyone knows that the law of God very straightly forbids men to put on women’s garments (101).
Heywood:
Actually, theatres were in the greatest opinions amongst the romans (223). I don’t think anyone would call them feminine or accuse them of a lack of industry.
Moreover, you neglect to acknowledge that the theatre offers an education to the common man. Plays have…taught the unlearned the knowledge of many famous histories (241). Have you considered that most people can’t read? Going to the theatre is a way that common people can learn about their history and cultural heritage. Additionally, to go to the theatre is to learn the art of rhetoric which instructs a man to speak well, and with judgement (227). Clarity of speech and eloquence are good skills to have.
Gosson:
To imitate others on stage is a blatant deception. God hath made us in his own likeness (88-89). To impersonate someone else is to defy God’s wisdom in creating us how we are. Where is the transparency in theatre? How do we know if the actors are speaking in character or in truth. It’s as sinful as lying to be an actor! It is to mimic the character of the devil to turn himself sometimes to an angel of light, to deceive us the sooner (95).
Heywood:
I have come across many instances in which people have actually confessed to crimes and revealed truth because the theatre has inspired them to. Two women confessed to the murders of their husbands (245,246) after they were driven by guilt when watching a play. Even a Spanish invasion was foiled because the sound of an army on the stage scared them flee back to their boats believing it was a real army (245).
Finally, it is my strong belief that playing is an ornament to the city, which strangers of all nations report of in their countries (240). Our theatres put us on the map in Europe. They are something to be proud of, building our literary heritage and attracting the admiration of the world.
Heywood, Thomas. An Apology for Actors (1612). p. 85-111
Gosson, Stephen. Plays Confuted in Five Actions (1582).p 213-247
Alex, Gabs, Patrick, Pauline, Zoe
Great work, and a speedy response, I see! Good practice here in using italics for quotations to distinguish between the source and your interpretation or summary, plus the use of page numbers and bibliography. It’s a bit of a sudden start (though I imagine that Gosson, waking up from a nap, would probably shout out some invective first thing!) and end, but you’ve matched the argumentative points very well here, such as the effeminising nature of performance v. the industriousness of the Romans and the educating of (men? in the audience) in rhetoric.