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The chronicles of theater reveal a
prosperous tradition of dramatic performances concentrating on socio-political
agenda and currents that has deep or considerable impact in public life to seek
attention, consciousness and reaction of the people. The Satires performed by
the comic poets at the amphitheatres played influential role in the
articulation, aggregation and exposition of public opinion in Helenic
democracies. Although the performance of Drama had ritualistic significance in
the then Athenian society, the dramatists enhanced the scope of such
performances towards examination of political issues and their relevance in the
running of Polis or city-state centric rule. The splendors of such open-minded
criticism of politically controversial and critical themes are drafted in the
works of Sophocles, Euripides, Aeschylus, Aristophanes, Agathon and many
others.   

In the age of Renaissance, Shakespeare’s
plays were challenging the Christian traditional morality and ethos. “In
his critique of King Lear, Swinburne
valorizes Helenic aestheticism over Christian morality, and argues that this
play proves Shakespeare’s sympathy with radical political causes. Indeed,
Swinburne’s rhetoric in King Lear inverts
traditional reading of the play by promoting agnosticism over Christianity,
aestheticism over morality. Swinburne appropriates Shakespeare, to further
radical agenda which prompted liberal politics, agnostic religion and Helenic
aestheticism.” Sawyer, Robert; Victorian Appropriations of Shakespeare :
George Eliot, A.C Swinburne, Robert Browning and Charles Dickens; Associated
University Press; London; 2010; p. 50. Critiques also observe the portrayal of
struggle between various social groups in the Roman republics was central to
Shakespeare’s Coriolanus, which is amid the minority of Shakespeare tragedies proscribed
in a democracy in modern times. The drama was temporarily censored in France during
late 1930s on the allegation that it exhibits certain fascist aspects, and
Slavoj Zizek,  recorded its embargo in
Post-War Germany on the ground of its content of severe militarism.Zizek,
Slavoj; Living in the End Times; Verso; Slovenia; 2011; p. 432             

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In subsequent
centuries, political theatre has evolved in depth and range. Eventually
political theatre has associated itself with cabaret performances and indigenous
folk theatre. Under the semblance, political theatre has cultivated itself as an
agency of authentic alternative interaction inside the civil societies that are
being ruled by oppressive governments and worked to proliferate the critical judgmental
thought.

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