In the triad of spatial and architectural archetypes we have just examined in detail, theatricality plays different roles, but in all of them architecture is the fundamental threshold needed for all of the rituals. In the bourgeois temple theatre, architecture assumes a cathartic role focused on the reaffirmation of a social fabric that is compact and well defined, and that architecture itself helps to build and extol; a lay social fabric (although secularised from a religious origin) that acquires cohesion and community identity through identification processes with the stage. These architectures perpetuate the rituals accepted by the majority and their main aim is to legitimise and give historical continuity to them. The theatre machine works in a similar way in that it legitimises and extols rituals, but introduces the shock in the ritual to renovate it, producing new social rituals that modify the subject substantially. A very significant part of the theatrical vanguard worked this way, ensuring profound renewal inside the theatre itself, introducing alterations in the roles of the theatrical ritual and challenging previous roles. With the reversal of roles, the ritual acquired new forms, but the theatrical mechanism remained more or less intact as a device that legitimated a determined moral pedagogical ideal.
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