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A recent piece by Rod Dreher is the latest example I’ve seen on the Dissident Right of references to “Theater-Kid-run America” and to the dangers of giving power to “Former Theater Kids” and, well, it’s got me feeling called-out in a very uncomfortable way. Certainly this far from the first time I’ve felt conspicuously out-of-place and unwelcome on the Right; my sparring with @HlynkaCG and @FCfromSSC in this space, and with a number of users when I was an active poster in /r/CultureWarRoundup, have reinforced my acute awareness of how my upbringing and personality profile make me somewhat of an uncomfortable fit in the right-wing ecosystem. But the “Theater Kids” discourse hits me particularly hard because it touches on something over which I’ve agonized for a long time.
The question of “why are artistically-inclined people nearly universally left-wing” has occupied my thoughts extensively ever since I began my journey to the Right. As I’ve mentioned here before - probably extremely ill-advisedly, from an OpSec perspective - I have a theatre arts degree and spent over a decade heavily involved in the local theatre scene (both musicals and “straight plays”) in my city. At one point I was incredibly enthusiastic about pursuing a professional career in that field, and made my participation in it a central part of my identity. My political conversion isn’t the only reason I’ve drifted away from theatre (even my use of the British spelling gives me away as a Theater Kid), but it was by far the biggest accelerant of that decision. Another reason, though, is that even aside from their politics, theatre people can be… difficult to be around in certain ways that made me stick out like a sore thumb sometimes even without politics entering the equation.
So, when I see right-wing commentators taking potshots at “Theater Kids”, part of me wants to not only applaud, but to amplify their criticism: “Oh, you don’t even know the half of it!” I’m far more intimately aware of the particular failure modes of artists, because I saw them up-close and personal for a huge part of my life, and can recognize some of those failure modes in myself. Another part of me, though, becomes very defensive and wants to leap to the defense of the creative class; not only because, despite my current politics and estrangement from that scene, I’m still one of those people at heart, but also because I think right-wing people tread on dangerous ground when they too-eagerly dismiss and alienate artistically-/creatively-oriented people.
It is undeniably true that people involved in the arts are overwhelmingly and ostentatiously left-wing. Look at surveys of political orientation among any even remotely creative-adjacent field and you will find support for progressive parties/ideas well above 80-90%. The question of why this is the case is complicated and fascinating. Has it always been that way? It is dangerous to apply modern political categories to pre-modern societies, but if the “theater kid” personality profile existed in ancient/classical societies, would it be possible to say that those types of people would have been more “proto-woke” than the average citizen?
Remember that the great literary classics of Ancient Greece - the Odyssey, the Iliad, the Theogony - were epic poems delivered orally and accompanied by music long before they were written down and codified in literary form. The bards who would have invented, transmitted and augmented these epic poems were real people with real personalities, and I think there’s a significant likelihood that they were not too different from the actors and rockstars of today. Besides implying a degree of narcissism and superciliousness that we associate with artsy people today, does it also suggest that they would have been the “shitlibs” of their day?
There’s an interesting discourse about how the character of Odysseus is a sort of prototype for the theater kid’s idea of a hero - the idealized self-image of an artist imagining how he would be as a hero. Odysseus is a trickster and fabulist; he achieves his heroic deeds largely through craftiness, subterfuge, deception, and pretending to be anybody other than who he actually is. He can conjure whole worlds and identities at a whim through the magic of wordplay and storytelling. He is labile and mercurial, indirect and full of what we might call chutzpah. He prefigures more modern examples of the “trickster/bullshitter with a heart of gold” archetype epitomized by musical theatre characters like Harold Hill in The Music Man, J. Pierrepont Finch in How To Succeed In Business Without Really Trying, and the funhouse-mirror version of P.T. Barnum presented in the movie musical The Greatest Showman. The guys writing these musicals can’t imagine themselves as Herculean heroes of might and action, but they can imagine themselves saving the world by being so good at spinning a compelling story that they make it come true.
So, what does this imply about the self-image of artists, and what can it teach us about the likely consequences of giving the reins of power (cultural, political, or otherwise) to people who come from this milieu and/or have this personality type? Many on the Right - I’m thinking especially of the blogger The Z-Man - have noted that modern American politics are dominated by a sort of Carny (meaning a carnival performer or huckster) type of personality. There’s a persuasive case to be made that democracy inherently rewards and gives power to that exact type of person. I think we can see all around us many of the failure modes of trusting these people with the governance of our country and the production of our cultural narratives. They are fundamentally unserious people, addicted to attention and applause, attracted to head-in-the-clouds utopian nonsense because they never fully grew out of a sort of perpetual narcissistic adolescence, convinced that the key to solving hard problems is just telling a really good lie and crafting a feel-good narrative so aesthetically-pleasing that it can’t help but manifest into reality. This is a spot-on description of the personalities of many of the theatre people I know, and I wouldn’t trust them to organize a bake sale, let alone run a country.
And yet. By telegraphing its open hostility to artists and creatives - by throwing up a big sign that says, “people with liberal arts degrees, go away!” - I believe that the Right severely cripples itself. Firstly, on a practical level, it deprives the Right of its ability to mobilize individuals who can craft aesthetically-compelling narratives that will inspire and convert normal people. Right now, the only interesting art that most people in first-world countries will ever be exposed to is made by leftists. We can talk about the reasons for this; certainly some of them are structural, and are downstream of the fact that Hollywood and creative industries more generally are dominated by powerful leftists who limit the ability of right-wing content creators to access the kind of resources and backing required to produce and distribute media. But even when right-wingers get a chance to make art, it… generally doesn’t measure up.
Why is that? Is part of the reason why right-wingers (myself included) are so interested in pre-modern art is that they can keep Retvrning to it and are relieved of the burden of having to create something new? Why is it that the only people who go to classical music concerts and operas are PMC shitlibs? If the Right achieves its glorious counter-revolution, will the end product look like the town from Footloose? Distrustful of art and self-expression for fear that it breeds degeneracy? Forever fighting a battle to suppress artsy types who will corrupt the youth and bring the poison of leftism back from the dead? Should creative types who are otherwise on board with the Rightist project be concerned that we are helping to build a future that will have no place for us?
Maybe the fact that I’m asking these questions is proof that Red Tribers are right to be suspicious of people like me. If a conservative and traditional life is ideal for the vast majority of people, who cares what a tiny minority of whiny self-obsessed “artists” want? Aren’t people like me the reason we got to this point in the first place? It’s a tough subject for me to think about. To what extent can I whole-heartedly commit to a political project that will marginalize the people most similar to myself, in order to secure the greater good for the great mass of other people on earth? Am I just overthinking this entirely and letting a flippant shitposty meme trigger me into neurotic despair?
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Oh, you are dead-on about Trump, and I pegged him from the second he came down that elevator as a toxic grifter to be avoided at all costs. I do think that for all the ways I’m an odd fit for the Right, the fact that at no point was I ever a run-of-the-mill normie conservative gives me a bit of insight into some of the failure modes to which the Red Tribe is vulnerable, and I knew that Trump would be able to expertly exploit those vulnerabilities while actually doing close to nothing to help the people who voted for him. He is the ur-fabulist, someone so labile and bereft of sincerity that he will say and believe literally anything he thinks he needs to in order to secure adulation and power.
I mean, what’s the point of all of it if the proles rise up and overthrow their overlords, only to institute a society where the height of artistic culture is Pawn Stars and a NASCAR race? If the destruction of the PMC means the destruction of what’s left of our high culture, I’ve got to say that siding with the elites starts to look like a more attractive prospect. Say whatever you will about the PMC and their schizophrenic relationship to traditional high culture, but like I said, when I go to a classical concert or a ballet or an opera, it’s very obvious who is keeping these traditions alive, and it sure as hell isn’t Trump voters.
I absolutely abhor this line of thinking. I grew up in a red tribe setting and spent most of my adult life around blue tribe people and whenever they say this sort of thing it makes them look so, so bad in my opinion. People who watch Pawn Stars and NASCAR are poor and even if they're not poor have little to no cultural power in their own country, they have been dying by the thousands in drug overdoses, the rust belt has been on a downward spiral for a century, they have a poor quality of life and then have to be degraded by.... "theater kids" who rub their suffering in their faces. Sorry for the rant but it blows my mind when I see the same tribe of people who spend every waking moment trying not to offend BIPOC people flippantly painting Trump voters as people who have chosen not to keep opera alive rather than painting them as people with the cards stacked against them who are more worried about getting their rent paid than trying to attend a ballet to feel a little superior to the people around them.
Actually, I think I've just hit at the crux of the issue of your original post. Theatre kids are, or have been for the past few decades, leftist because it's where elitism and cultural capital lie. Take away that construction and suddenly the creatives are free to switch sides, which I believe is already starting to happen as I've outlined in this post from a few months ago.
Leaving aside the fact that I personally am certainly not worried about offending “BIPOC people” - I direct you to peruse my larger body of work on this site, in which I do precisely the opposite - your larger point stands and is valuable. Progressives will contort themselves into pretzels to make excuses for every self-defeating thing a poor minority does, while not only hearing no excuses for similarly self-defeating behavior from downscale whites but actually reveling in it. The pattern you are outlining is real.
However, hypocrisy can be reconciled in two directions. One would be to see all downtrodden and marginalized communities as equally worthy of sympathy and uplift; a populist “champion of the little guy” who gives every bit as help to every unfortunate and exploited person, regardless of race or tribal loyalty or whatever. That appears to be what you’re advocating, and I understand the appeal. However, I can also resolve the hypocrisy by extending the same disdain and feeling of superiority to the “BIPOC people” as I do to the “trailer trash”; this is the elitist position that some people are better than other people, and that generally speaking power and resources are effectively distributed based on the quality, productivity, and value of individuals. This is certainly an oversimplified worldview and does not accurately describe the whole picture; however, I believe that it is directionally correct.
I have been to the dirt-poor part of Appalachia - I was in eastern Kentucky - and if I were to give one of those people a free ticket to a classical music concert - which, by the way, one can purchase for like $25 at most venues and get decent seats, so this isn’t some massive expense - that individual would probably not appreciate the experience even given the chance. I’m confident that this is the cad because even wealthy or middle-class Red Tribe people - people with no material concerns preventing them from participating in high culture - overwhelmingly do not do so, and prefer lower-brow fare. There’s a cultural/psychological/tribal element here that has nothing to with people just being too poor to afford a ticket to the ballet.
As for your contention that someone would only go to the ballet “to feel a little superior to the people around them”, I can assure you that that’s not the reason I go to the ballet. I go because so genuinely experience it as sublime and beautiful. It makes me feel connected to a larger corpus of important cultural output that represents the absolute pinnacle of what my people have been able to create, during the period when their culture was at its most powerful and dynamic and confident. I have difficulty relating to people who can’t experience the sublimity of something like that. There’s nothing wrong with enjoying lowbrow entertainment - I go to punk rock concerts all the time, which are not intellectually-stimulating or artistically refined - but I think there’s something really limited and unfortunate about someone who hasn’t even been able to cultivate a base-level appreciation for the boundless world of free and instantly-accessible high culture that’s out there at the fingertips of the people for whom you’re making excuses.
Perhaps there is something to ballet that I just don't understand. I have been to at least one, nutcracker, and... it's just people dancing to music. Difficult I'm sure, but sublime? Different people find different things sublime, I love my city, I'm in awe at what our engineers, architects and laborers have built - my culture is more powerful and dynamic today, not in some idealized past where pain stakingly perfecting choreography was the peak of human ambition. Maybe this is what you feel when you see ballet, but it is no universal experience.
For what it's worth, I also like ballet and think it's sublime. I even consider dancing and engineering to be related, because the human body is like a machine. Programming robots to be able to do what humans can do is a cutting edge field of research.
My favorite ballet is the Triadic Ballet, produced out of the Bauhaus school. The costumes worn by the dancers show different aspects of the human body's geometry. The ballet is divided into parts based on various mechanical motions of the body. It's not just a demonstration of painstakingly perfect choreography. It demonstrates ideas and principles that can be generalized to other fields of knowledge.
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