The term spectacle in the theater is used for either a predominantly spoken drama or for a division of performing arts exerted by actors. In the classical multi -genre theater he calls the majority spoken theater, in contrast to musical theater and dance theater. The division of the play is also called Stage Play In analogy to these terms. A mainly for spoken theater designed or occupied theater building is referred to as a playhouse.


The terms drama and spoken theater are independent of the genus. You can be both a tragedy and a comedy called, a melodrama or a farce.

Gustav Freytag, however, limited the " spectacle " as lower, more ordinary theater genre of drama from ( the technique of the drama, 1863) and thus favored a classical type of plays that are today often called closed Drama.

Conversely, the spectacle was seen as higher class against the music emphasized theatrical forms ( operetta, vaudeville ) and the farce, especially since the end of the 19th century, which is reflected in theaters, on a training program switched from a popular repertoire as the German theater or the New Friedrich-Wilhelm Urban theater Berlin around 1900.


The profession of the actor broke up until the first third of the 19th century by the occupations of the singer and the dancer.

While the classic drama especially had the sense to bring a flawless pronunciation of the texts on the stage, which was considered as part of its educational mission, the primacy of speech training for the spectacle has decreased since about the '68 movement. Many varieties of Director in the 20th century by Peter Zadek to Christoph Marthaler have put the traditional emphasis of the play on the spoken (literary ) language in question.