Theatre, in its multiple forms of production – which is why we will use, hereafter, the word “theatres” in the plural, has always been an expression of the relationship between civic society, political power, and the way in which people express themselves through individual and collective performances. Thus, from the very beginning, theatres have been considered an art available to the community with the three possible functions of acceptance of the status quo, protest against existing regimes, and entertainment. At some turns in history, theatrical performances have even taken on explicit political stances of protest and criticism, or propaganda and consensus-building, reaching sometimes forms of outright militancy by affiliation to parties or forms of government (Ponte di Pino 1996, Dalla Palma 2001, Kershaw 2002, Ferrarotti 2007, Rancière 2008, Casi and Di Gioia 2012, Mango 2012, Badiou 2015, Bernardi 2015, Eckersall and Grehan 2019, De Marinis 2020, Hamidi-Kim 2014 and 2020). Moreover, if we assume, as we propose, a broad and performative notion of theatre practices (Schechner 2018), that includes games, feasts, celebrations, street demonstrations, happenings, performances in public spaces and events, then the connections between performing arts and practices (on one side) and politics (on the other) become all the more numerous. In this perspective, theatres are an intermediate process of interaction between representative and delegated power systems and their delegating subjects. A veritable media that has helped both parts of the power relationship, in spite of the complexities encountered, to shape the dynamics of collective well-being.