From its very beginnings, theatre has been both an art and a public space, shared by actors and spectators. As a result, its entity and history is intimately tied to politics: a politics of inclusion and exclusion, of distributions and placements, of spatial appropriation and utopian concepts. This collection examines what is at stake when a theatrical space is created and when a performance takes place; it asks under what circumstances the topology of theatre becomes political.

The book approaches this issue from various angles, taking theatre as a cultural paradigm for political dimensions of space in its respective historical context. Visiting the political dimensions of theatrical space in both theatre history and contemporary performance, the volume responds to the so-called spatial turn in cultural and historical studies, and questions a politics of aesthetics that is discussed in continental philosophy. The book visits different levels and linkages between aesthetic theory and geography, art and sociology, architecture and political theory, and geometry and history, shedding new light on theatre, politics, and space, thereby transforming this historically intertwined triad into a transdisciplinary theme.

从一开始，戏剧就既是一门艺术，也是一个公共空间，由演员和观众共享。因此，它的实体和历史与政治密切相关：一种关于包容和排斥、分配和安置、空间占有和乌托邦概念的政治。这套书研究了当一个戏剧空间被创造出来，以及当一场表演发生时的利害关系；它询问了在什么情况下戏剧的拓扑学会成为政治。

本书从不同角度探讨这一问题，将戏剧作为其各自历史背景下的空间政治层面的文化范式。本书考察了戏剧史和当代表演中戏剧空间的政治维度，回应了文化和历史研究中所谓的空间转向，并对大陆哲学中讨论的美学政治提出质疑。本书考察了美学理论与地理学、艺术与社会学、建筑与政治理论以及几何学与历史之间的不同层次和联系，对戏剧、政治和空间进行了新的阐释，从而将这一历史上交织在一起的三者转化为一个跨学科的主题。