It seems there’s something about the process of going through a multi-stepped procedure that provokes in people feelings of control, above and beyond the role played by any associated religious or mystical beliefs.
See the short review of recent scientific research on the power of ritual quoted above at: BPS Research Digest: Rituals bring comfort even for non-believers.
I won’t argue here how theater likely arose from ritual; google “theater+ritual” and you’ll see the arguments for the emergence of theater from the rituals of the ancient Greeks, etc. Nor is there any need to belabor how Beckett and many other modern theater artists can be viewed through a ritualistic lens; google “Beckett+ritual” and you get plenty. Theater theorists and scholars in the 20th century mined this vein well, and made strong arguments. It’s worth looking into, but not my main point here, and I think most would stipulate that between the Greeks and Beckett are likely many thousands of examples of ritual in theater, ritual as theater, theater as ritual, and a mountain of evidence that theater and ritual remain bound together. For narrative artists working in front of an audience, there is plenty from ancient times through present day to tell us the value of ritual.
However, science is working to prove empirically the effect ritual has on us, and such proof may well expand our understanding of how best to employ it as narrative artists.
Over at BPS research (one of my favorite places to sift through advances in the behavioral sciences for how they might affect narrative science) Christian Jarret sums up some interesting new research on how ritual gives one a sense of control over their future — or more precisely, over things one cannot control, such as grief or loss. The ramifications are, again, pretty obvious for theater artists. It’s nice to see science proving something we practice in theater: catharsis. But can ritual prove to be a powerful tool for all kinds of narrative? My shoot-from-the-hip answer would be to point to Joseph Campbell’s Hero’s Journey argument and say: it’s hard to argue with Campbell’s extensive work showing that story itself is derived of ritual. From that point of view, it really doesn’t matter how story is conveyed to you; it could be a live performance in the theater, or words a page, or even in a haiku story that is tweeted and viewed on your iPhone and it would be a descendant of ritual as Campbell explains it. Again, google will tell us there is plenty of contemporary theory about ritual in all types of storytelling — novels and prose and poetry from all traditions, East and West, ancient and present. But what I’m tracking most here in the science is the why and the how. I already know ritual is important, but scientific proofs may lead us to more concrete answers for why ritual is important to us and how best to use it as narrative artists.