From theatre to factory to...

 "The society of the 18th century was still dominated by ritual forms of interaction. The public space resembled a stage, a theatre. The body also represented a stage. It was a dressed puppet without soul, without psychology, that has to be draped and decorated and fitted out with signs and symbols. The wig framed the face like a painting. The fashion itself was theatrical, and people were properly in love with scenic presentations. A lady's coiffure was also designed as a scene, representing either a historical event (pouf à la circumstance) or an emption (pouf au sentiment). These emotions, however, did not reflect conditions of the soul. The emotions were mainly played with. The face itself became a stage on which various characters were represented with the help of beauty spots (mouches). If they were placed at the corner of the eye, they meant passion. Placed on the lower lip, they indicated frankness of the wearer. The face understood as a stage is utterly remote from that face we find presented today on Facebook.

The nineteenth century discovered work, and play became increasingly distrusted. There was now much more work than play: the world resembled a factory rather than a theatre. The culture of theatrical presentation gave way to the culture of interiority. This development can also be seen in fashion. Stage costumes and ordinary clothes began to differ more and more. The theatrical element disappeared from fashion. Europeans started to wear work clothes:"

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"The cult of authenticity erodes public space, which disintegrates into private spaces. Everyone carries their own private space with them wherever they go. In public space, one has to leave aside the private and play a role. It is a space for scenic presentations, a theater. The play, the drama is essential to it:"

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Today, the world is not a theater in which roles are played and ritual gestures exchanged, but a market in which one exposes and exhibits oneself. Theatrical representation gives way to pornographic exhibition of the private."

pages 18-21 , The disappearance of rituals, Byung-Chuk Han