I worked out a rather deep-dish theory defining the theater as a form of architecture rather than a form of literature.

Preston Sturges’s quote presents a bold and unconventional perspective on the nature of theater, describing it as a form of architecture rather than a form of literature. By calling it a “deep-dish theory,” he acknowledges the layered, perhaps even indulgent, depth of his idea. What he means is that theater is not solely about the written script or dialogue—it is about the construction and organization of experience in time and space. Much like architecture, theater is designed to guide movement, emotion, and attention, shaping how the audience interacts with the story in a physical and visual way.

By viewing theater as architecture, Sturges emphasizes the importance of structure, staging, and spatial relationships—elements that define how a performance unfolds beyond the text itself. He suggests that the impact of a play depends not only on what is said, but on how it is built: the rhythm of entrances and exits, the use of scenic design, and the choreography of characters within the space. Just as architecture controls the experience of a building, theater orchestrates the audience’s emotional journey through design and timing.

This interpretation also reflects Sturges’s background in film and playwriting, where he was known for intricate story structures, sharp dialogue, and meticulously timed comedic pacing. His insight reveals how he viewed storytelling as an act of construction, not just expression. In both his stage and screen work, Sturges treated each moment as a building block, carefully arranged to maximize impact, much like an architect considers every line, form, and material to serve a cohesive vision.

The quote originates from Sturges’s reflections on his creative process, particularly during his transition from playwright to screenwriter-director in Hollywood’s golden age. As one of the first to successfully bridge writing and directing in film, he brought an architectural mindset to narrative design, crafting films that were as structurally sound as they were emotionally and comedically effective. His theory underscores the idea that theater—and by extension, cinema—is not just written, but built, with deliberate form and intention.