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This article investigates the way the notion of constraint could be extended to theater studies and theater history, focusing on the case of French clas - sical tragedy in the seventeenth century. Can classical poetics be regarded as a set of constraints? Rather than viewing the constraint as a literary technique, the authors argue that it is also relevant to other, nonliterary phenomena, for example, to the theater. There the idea of constraint can be put to use as a tool for theoretical reflec- tion on and critical or historical analysis of performance practice. The article pays special attention to (1) the way Aristotelian poetics developed throughout the seven - teenth century from a flexible set of tips to a hegemonic theoretical practice; (2) the increasing use of textual and performative constraints to resolve the disorder and friction typical of French (early) modern theater practice; (3) the divergence between theory and practice, between the intended and the actual performance; and (4) the relationship between the notion of constraint, on the one hand, and that of disci - pline, on the other.

Resisting the Constraint: The Constraint as a Methodological Tool for a Performance-Oriented History of the Theater