The article seeks to trace the Christian tradition of anti-theatrical resentments which is usually traced back to the patristic literature. More specifically, the article argues that theatre and performance becomes a privileged place for negotiating and acting out the denominational differences during the Reformation. While, in particular, Pietists and Puritans openly fought theatre as diablic forces, the Roman church navigated a middle course between social rejection and using theatrical means for their purposes. Especially, the Jesuits and their spiritual practices, developed a more flexible through line. Eventually performes, such as Catharina Elisabeth Velten, fought these attitudes in order to secure the social status of actors and performers.
