All the world’s a stage: covert action as theatrical performance

Abstract

Theatre, performance, and espionage have several times been unexpected partners throughout history, from theatrical spies to CIA and Hollywood collaborations. This article firmly places covert and undercover espionage acts in the realm of theatrical performance, and seeks to further examine the links between stagecraft and tradecraft by analyzing specific actions and operations from the Second World War through the lens of actor training methodologies. It argues for an alternative theatre history, where the political landscapes of espionage acts assumed the form of a global performance venue, with its participants taking on character, costume, design, and an ever suspicious audience.