Base Trade: Theater as Prostitution

In the article “Base Trade: Theater as Prostitution,” Joseph Lenz explores contemporary criticisms of Elizabethan and Jacobean theater in the analogy of theater as prostitution. This article was immensely helpful for my paper since it shows that it was not only Puritans, but the general public and political leaders who were critical of theater. I think the article can also help illuminate the satire in The Knight of the Burning Pestle. While the citizen George and his wife Nell are not necessarily puritans, they still voice outwardly their dissatisfaction with performances who satirize citizens of London.

Lenz argues that the Lord Mayor, along with the general public, became aligned with thinking of the theater as prostitution, firstly because of the physical proximity of the theater to brothels. Lenz cites Ann Cook, who asserts that the theaters even operated as an extension of a brothel because they brought clients and prostitutes together, where men could satisfy their “appetites” through more than spectatorship or visual entertainment. Furthermore, there was an “inn” called the Little Rose which was a site for prostitution. In 1586, the Little Rose “lent its grounds, its name, and, evidently, its reputation” to Philip Henslowe who “established the place of the stage on common ground with the brothel” (837-838).  Eventually the Privy Council began restricting the number of theaters to the Fortune and the Globe in 1600 in response to the concern for immoral behavior.

While theaters might have received a reputation for lechery and debauchery because of physical proximity to prostitution, does this really mean that theater, as a form of art and entertainment, is inherently immoral?

Puritans would argue indeed, the very nature of theatrical performances resembled the actions of prostitution. Critics of theater, such as John Northbrooke, claims “our eyes are as windows of the mynde”  and that theater is “the beginning of whoredome” (840). Scripture gives evidence that one can commit sin merely by sight: “whosoever looketh on a woman to lust after her hath committed adultery with her already in his heart” (Mat 5:28).

Theater’s response to such criticism comes by redirecting the reproach in the form of satire. In The Knight of the Burning Pestle, George and Nell are also the source for much of the bawdy humor and covert lechery. In the introduction of the play the Prologue says to the audience: “Fly far from hence/ all private taxes, immodest phrases…thus much for that we do, but for Rafe’s part you must cope.” The prologue suggests that the immorality contained within the play are not inherent to the performance, but are instead extraneously, and even unconsciously projected onto theater by spectators. George and Nell applaud the changes they make, which include bawdy jokes and sexual innuendos. The immorality contained within The Knight is refocused by satirizing the citizens of London. 

If you would like to read more of this article, here's the citation:

Lenz, Joseph. “Base Trade: Theater as Prostitution.” ELH 60.4 (1993): 833-855. JSTOR. Web. 24 Apr 2015.