The concept of mimesis has been one of the foundational ideas shaping the Western traditions of art, literature, and philosophy from Aristotle to the present day. Derived from the Greek word meaning “imitation,” the term has fueled aesthetic and ontological debates surrounding the nature and meaning of art. In The Republic, Plato views mimesis as a deviation from truth. Aristotle, in Poetics, defines it as a creative act intrinsic to human nature and a means of achieving spiritual catharsis through tragedy. Plotinus reinterprets mimesis as a way of approaching the realm of Ideas, thereby transforming Plato’s negative stance into a more transcendental one. In the Middle Ages, mimesis evolved into a representation of divine truth. Saint Augustine understood it as a means of reflecting divine creation and serving the salvation of the soul. Auerbach characterizes this shift as a transition from worldly representation to spiritual depiction. In the Renaissance, mimesis became infused with individual observation and creativity, focusing—through figures such as Leonardo da Vinci and Shakespeare—on the inner truth of nature and the complexities of human psychology. Romanticism challenged classical notions of mimesis by prioritizing imagination and emotional authenticity. Goethe and Schlegel contributed to this reconfiguration by framing art as a bridge between human existence and absolute ideals. Modernist thought transformed mimesis into a tool of social critique. In this context, Benjamin, Adorno, and Horkheimer examined the loss of artistic authenticity and the ideological instrumentalization of art. Baudrillard, through his theory of simulacra, argued that representations no longer reflect reality but instead produce hyperreality. This article examines Republic of Baklava, a mockumentary play by Anestis Azas, to explore contemporary theatrical expressions of post-mimesis. Through its blend of fiction and documentary aesthetics, the play deliberately obscures audience perception, offering a theatrical form that critically interrogates the boundaries between reality and representation.

Mimesis, Post-Mimesis, Dockumentary, Mockumentary, Theatre of the Real, Reality, Fiction