This dissertation investigates the interplay between theatricality and religious representation in Jean Frédéric Bernard and Bernard Picart's Cérémonies et coutumes religieuses de tous les peuples du monde (1723–1737). As a richly illustrated collection of religious rituals and ceremonies from across the globe, Cérémonies occupies a unique position in early modern scholarship. Although typically analyzed as a proto-anthropological work heralding the comparative study of religion, this study reframes Cérémonies through the lenses of Art History and Theater and Performance Studies.
Central to this analysis is the concept of theatricality—viewed as both a mode of perception and a rhetorical device. The dissertation explores how Bernard and Picart employed theatrical strategies in their textual and visual representations to frame religious practices as social performances. These strategies included spatial compositions, visual choreography, and the integration of allegorical and dramatic elements, transforming the rituals into vivid, staged events for their audience. By contextualizing Cérémonies within the broader knowledge economy of the Dutch Republic, the study also highlights how these performative strategies engaged the affective and intellectual sensibilities of early modern readers.
Through detailed case studies, this research uncovers the performative agency of Cérémonies, revealing its role in shaping Enlightenment attitudes towards religion, theatricality, and the cultural imagination. It argues that theatricality was a key structuring principle, bridging the realms of art, performance, and comparative religious studies, and redefining early modern approaches to religious diversity.