'As we saw in Chapters 2 and 3, the Governors rejected The Ham Funeral and Night on Bald Mountain; yet the plays were not passive objects. They had the power to create affects of disgust and anger in some, notably Glen McBride and Neil Hutchison, and joy and enthusiasm in others, such as Harry Medlin, Geoffrey Dutton and Max Harris. Reaching beyond the field of politics, Carl Schmitt recognizes the power of theatre when he ascribes something akin to sovereignty to the lifeworld of plays...' (Introduction)