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Relevant bibliographies by topics / Theatricalism

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Academic literature on the topic 'Theatricalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 May 2024

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Journal articles on the topic "Theatricalism"

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Fuchs, Elinor. "Clown Shows: Anti-Theatricalist Theatricalism in Four Twentieth-Century Plays." Modern Drama 44, no. 3 (September 2001): 337–54. http://dx.doi.org/10.3138/md.44.3.337.

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Shrivastwa, Bimal Kishore. "Metatheatricality and Self-reflexivity in Subedi’s Plays." KMC Journal 5, no. 1 (February 20, 2023): 85–101. http://dx.doi.org/10.3126/kmcj.v5i1.52452.

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This paper seeks to explore meta-theatricality and self-reflexivity in Abhi Subedi’s two plays, A Journey into Thamel and The Caretaker’s Sky, to mark how the playwright reflects the changing social and cultural milieus of Nepal through these dramatic techniques. Through a close reading of Subedi’s A Journey into Thamel and The Caretaker’s Sky from the metatheatrical perspectives propounded by Lionel Abel and Richard Hornby, the research surveys how the playwright connects theatricality and realism in these plays. A Journey into Thamel portrays the hardships of people living in the post-war scenario of Nepalese society. The Caretaker’s Sky deals with the quest for freedom of creativity. But both plays share the common ground in terms of form, as Subedi’s dramaturgy expresses using metadrama as a rhetorical vehicle. In doing so, he uses as many metatheatrical tools as possible in making the plays self-reflective. The chief finding of this research is that Abhi Subedi exploits meta-drama as a rhetorical vehicle and at a time responds to the co-existence of realistic drama, staged theatricality, and anti-theatricalism in these plays so as to portray the Nepalese problems. The research scholars intended to work on Nepali theatre are expected to take the paper as a reference.

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BELT, DEBRA. "Anti‐Theatricalism and Rhetoric in Marlowe's Edward II." English Literary Renaissance 21, no. 2 (March 1991): 134–60. http://dx.doi.org/10.1111/j.1475-6757.1991.tb01023.x.

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Purinton, Marjean D. ""Antitheatrical Theatricalism" on the Eighteenth-Century English Stage." Criticism 46, no. 2 (2004): 305–9. http://dx.doi.org/10.1353/crt.2004.0047.

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Li, Yuan. "『매의 우물』에 나타난 예이츠의 전통적 극형식에 대한 저항과 시적 문화주의." Yeats Journal of Korea 56 (August 31, 2018): 129–47. http://dx.doi.org/10.14354/yjk.2018.56.129.

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O'Connell, Michael. "The Idolatrous Eye: Iconoclasm, Anti-Theatricalism, and the Image of the Elizabethan Theater." ELH 52, no. 2 (1985): 279. http://dx.doi.org/10.2307/2872839.

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Christian, Mary. "Performing Marriage: A Doll's House and Its Reconstructions in Fin-de-Siècle London." Theatre Survey 57, no. 1 (December 9, 2015): 43–62. http://dx.doi.org/10.1017/s0040557415000551.

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Actress Elizabeth Robins, encountering Ibsen's Doll's House for the first time in a Novelty Theatre performance in June 1889, was thrilled by both the boldness of the play's ideology and the emotional power of the characters and the acting. The one element with which she found fault in the production, however, was Nora's tarantella, which she described nearly forty years later as “a piece of theatricalism, Ibsen's one concession to the effect-hunting that he had come to deliver us from.” William Archer and Harley Granville-Barker concurred with Robins's assessment, criticizing Nora's dance as the play's “flawed streak,” as “a theatrical effect, of an obvious, unmistakable kind” and “Ibsen's last concession to … the theatrical orthodoxy of his earlier years.” The tarantella, they agreed, was an embarrassing irrelevance, a crowd-pleasing distraction from the play's serious brainwork, simply an opportunity for the lead actress to display her agility and her well-shaped legs.

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Lavery, Carl. "Theatricality and Drifting in the Anthropocene." Nordic Theatre Studies 32, no. 1 (May 31, 2020): 159–78. http://dx.doi.org/10.7146/nts.v32i1.120414.

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This essay proposes a new way of reading the Situationist notion of dérive (drift) in the Anthropocene by thinking of it as an operation that is geological in impetus, a sense of movement caused by an agentic earth. Equally, it looks to offer an alternative and expanded theory of theatricality in which the theatrical is no longer associated with theatre per se. On the contrary, it is now seen as a mode of representation that deterritorializes spectators by placing them in the midst of groundless flows and anonymous processes. In the same way that the earth in the Anthropocene is figured as a dynamic and unstable planet, so drifting and theatricality, when brought together, radicalise our extant understandings of the stage by allowing it to become motile, a terrestrial force. Here, the ecological potential of theatre is not found in staging plays about climate change or insisting on site-specificity, but in thinking through the geological power of theatricality, its capacity to exist as a type of plate tectonics. Such an expanded understanding of theatricality explains why instead of paying attention to a specific theatre production or even to the medium of theatre in a restricted sense, I examine how, in their 1958 text and image collaboration Mémoires, the Danish artist Asger Jorn and his friend Guy Debord were able to transform the page into a stage – to theatricalize and geologize reading. In an attempt, simultaneously, to expand and undo itself, the article is not content to conceptualize its argument, it looks to theatricalize itself, to become a kind of drift, a geology of writing.

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Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida." Performance Philosophy 3, no. 1 (June 25, 2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.

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I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Michael Fried�s claim that Barthes�s Camera Lucida is an exercise in �antitheatrical critical thought� (Fried 2008, 98) the essay seeks to re-view debates on theatricality and anti-theatricality in and around Camera Lucida. Specifically, by exploring Barthes�s conceptualisation of the pose I discuss how performance practice might re-theatricalise the punctum and challenge a supposed antitheatricalism in Barthes�s text. Additionally, I argue for Barthes�s book as an example of philosophy as performance and for my own work as an instance of performance philosophy.

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Taurens, Jānis. "THE ARCADES OF NAPLES." Culture Crossroads 8 (November 13, 2022): 93–99. http://dx.doi.org/10.55877/cc.vol8.165.

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Among the numerous interpretations of Walter Benjamin, the short sketch “Naples” – collaboration with Anna Lācis or Asja – has become particularly renowned. However, Asja as a co-author has frequently been overlooked. This article makes an attempt to provide an interpretation on the collaboration of Asja and Benjamin by using the method of reading proposed in the conclusion of Borges’s short story “Pierre Menard, Author of the Quixote”, which allows one to re-read “Odyssey” as if it were written after “Aeneid”. Likewise, we might analyse “Naples”, looking at it from the perspective of Benjamin’s unfinished work “The Arcades Project”. Thus, a great number of notes relevant to the methodology of “The Arcades Project” can be seen fully implemented in the seemingly superficial travel description of “Naples”. Asja’s influence on Benjamin might be related to the theatre, and the theatricalism of the life in Naples is brilliantly conveyed in their text. Likewise, the Italian author Kurzio Malaparte builds the scene of the description of the stairs of Gradoni di Chiaia in Naples in his typical surreal style, as a tragicomic farce, and that is yet another view of Naples, which highlights the significance of Asja and Benjamin’s work. Part of this significance is the influence of Asja’s theatrical thinking on Benjamin’s methodology, which, in all likelihood, is never to be fully verified.

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Dissertations / Theses on the topic "Theatricalism"

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Byrne, Paula Jayne. "Jane Austen and the theatre." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343860.

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Gurbanova, Sabina <1996&gt. "Theatricals and Theatricality in Jane Austen's "Mansfield Park"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/18991.

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Theatricals and Theatricality in Jane Austen’s “Mansfield Park” Abstract “Mansfield Park” is one of the Jane Austen’s novel that deals most directly with theatrical subjects. Themes in the novel are strongly connected with the choice of the popular eighteenth-century play, “Lover’s Vows”. A performance of that play as a home-theatrical covers a significant place in the first volume of the book. In the novel, The Bertrams, her cousins and their fashionable new neighbours Mary and Henry Crawford, decide to set a staging of a popular drama to spend joyful time, while patriarch Sir Thomas is on business trip in Antigua. “Theatre” at Mansfield Park extends from billiard room to all places, Sir Thomas’s Study. The episode in the first volume that describes Sir Thomas’s return from Antigua, is the point when theatricality in this novel is destroyed by his order to burn every copy of Lover’s Vow. Despite the destruction of theatre as place, theatricality as a topic turns out to spread over the novel. Even though the theatrical content occupies a dominant position in the novel, the vision of the theatre presented in the novel might be considered complicated, even negative. The theatricals initiate acts of moral degradation that the novel ultimately condemns. Furthermore, the theatre and the specific play chosen are criticized and resisted on moral grounds by main characters that are identified to be positive characters (Fanny Price and Edmund Bertram), and celebrated by those who are considered to be characters with lower moral values (Maria Bertram, Tom Bertram and The Crawfords). Additionally, by paying attention to the description of the theatricals indicated by Fanny Price and Henry Crawford, it is possible to examine the similarity of their language. Although each of them states their opinion in a completely different way, both Fanny and Henry characterize theatricals in terms of “discontent” or “anxiety”. For them, the theatre is not just an object but the very site of anxiety. In “Mansfield Park”, the theatre which colonizes the rest of the novel, becomes strongly connected with unavoidable social existence and political postures. As a novel about theatricality, “Mansfield Park” describes theatrical forms as a danger threatening the interests of a certain period society. This paper aims to demonstrate the effect of the theme Theatre and Theatricality in the novel of “Mansfield Park” by Jane Austen by providing a deep literary analysis and approach to the topic from different perspectives.

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Goncalves, Thomas. "La théâtralité artistique, sociale et psychologique dans trois recueils de nouvelles d'Alice Munro." Electronic Thesis or Diss., Reims, 2022. http://www.theses.fr/2022REIML001.

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La théâtralité est un leitmotiv dans Dance of the Happy Shades (1968), Lives of Girls and Women (1971) et Who Do You Think You Are? (1978) d’Alice Munro. D’une part, ces trois recueils de nouvelles mettent en scène des personnages qui dirigent, écrivent, interprètent ou observent du théâtre ; d’autre part, le lecteur assiste à de nombreuses scènes au cours desquelles les personnages portent différents costumes et masques sociaux afin de trouver leur place dans la société canadienne d’après Seconde Guerre mondiale. Si ces deux premières formes de théâtralité, que nous nommons respectivement « artistique » et « sociale », nécessitent de la part des personnages un certain degré de contrôle sur les rôles qu’ils interprètent, d’autres scènes, identifiées par les voix narratives comme étant théâtrales également, font quant à elles état d’une perte de contrôle qui les fait alors basculer dans le domaine de la psychologie. Cette dernière forme de théâtralité, nommée « théâtralisme » ou « histrionisme » en psychologie et en psychiatrie, intervient en effet lorsque certains personnages perdent le contrôle des rôles sociaux qu’ils interprètent au quotidien et sombrent de ce fait dans une mise en scène en tout point paroxystique qui est le signe d’une profonde crise d’identité. Dans cette étude, nous nous interrogerons sur les sources et les enjeux de ces trois niveaux de théâtralité, tout en identifiant les « glissements » qui conduisent les personnages à transposer les rôles qu’ils interprètent au théâtre en dehors de l’enceinte théâtrale, ou qui favorisent le basculement de la mise en scène contrôlée de la vie quotidienne vers une forme de théâtralisme témoignant d’une crise d’identité aiguë
Theatricality is a leitmotiv in Alice Munro’s early fiction, notably in Dance of the Happy Shades (1968), Lives of Girls and Women (1971) and Who Do You Think You Are? (1978), in which at least three different forms of theatricality intermingle. Indeed, in these short story collections, numerous characters are closely linked to the theatre or the opera either as actors, singers, directors and writers, or as spectators. Other characters however are part of what Erving Goffman calls the “presentation of everyday life” inasmuch as they constantly wear a number of social masks and costumes so as to find their place in postwar Canadian society. In addition to these two forms of theatricality, that we will call respectively “artistic” and “social”, the reader can witness a number of scenes which are identified by the various narrative voices as being theatrical, and yet are neither entirely artistic or social. These scenes, which underscore the characters’ loss of control of the daily roles they perform, are reminiscent of the notions of “theatricalism” and “histrionism” in psychological and psychiatric studies, defined by the American Psychiatric Association in the Diagnostic and Statistical Manual of Mental Disorders (DSM-5) as “a pervasive pattern of excessive emotionality and attention-seeking, beginning by early adulthood and present in a variety of contexts”. In this study, we aim to determine what the sources and stakes of theatricality are in Alice Munro’s Dance of the Happy Shades, Lives of Girls and Women and Who Do You Think You Are?, while analyzing the way artistic, social and psychological theatricality intermingle or echo each other in these short story collections

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Cunha, Auristela Crisanto da. "Machado de Assis em contos :Uma constela??o de partituras." Universidade Federal do Rio Grande do Norte, 2006. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16397.

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Made available in DSpace on 2014-12-17T15:07:21Z (GMT). No. of bitstreams: 1 AuristelaCC.pdf: 405652 bytes, checksum: ffac73459635c9a67e473a5bb77a3591 (MD5) Previous issue date: 2006-12-08
This work aims at encouraging the reading or rereading of tales such as Um homem c?lebre , Cantiga de esponsais , Terps?core , Trio em l? menor , O machete , and Marcha f?nebre from the Brazilian writer Joaquim Maria Machado de Assis, hoping to find in them the manifestations of musicality, which is understood, from the viewpoint of contemporary musical theories, as dinamicity indications resulting from the melopaico (melodious verse) stimulus to the understanding of words and/or images, which are inserted in the writing static body from the literary procedures transferring to the text specific characteristics from other arts, such as music, poetry, performatic dance e theater. Such procedures, which are reflected in the writing as a product of Machado s close repertory, often favor, through the fiction, the delineation of the musical context from Rio de Janeiro in the 19th century, as well as the social implications that the transformations of the musical scene impose on the subjectivity constitution
Este trabalho busca o empreendimento de uma (re)leitura dos contos Um homem c?lebre , Cantiga de esponsais , Terps?core , Trio em l? menor , O machete e Marcha f?nebre do escritor fluminense Joaquim Maria Machado de Assis, procurando neles observar as manifesta??es de musicalidade, entendendo-se musicalidade sob o ponto de vista das teorias musicais contempor?neas, ou seja, como indica??es de dinamicidade decorrentes do est?mulo melopaico ? apreens?o das palavras e/ou imagens que se inscrevem no corpo est?tico da escrita a partir de procedimentos liter?rios que transportam para o texto caracter?sticas pr?prias de outras artes como m?sica, poesia, dan?a e teatro perform?ticos. Tais procedimentos, que se refletem na escritura como produto do repert?rio ?ntimo machadiano, acabam muitas vezes por favorecer, atrav?s da fic??o, o delineamento do contexto musical do Rio de Janeiro do s?culo XIX, bem como das implica??es sociais que as transforma??es do cen?rio musical impunham ? constitui??o da subjetividade

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McGillivray, Glen. "Theatricality a critical genealogy /." Connect to full text, 2004. http://hdl.handle.net/2123/1428.

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Thesis (Ph. D.)--University of Sydney, 2004.
Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Performance Studies, Faculty of Arts. Includes bibliographical references. Also available in print form.

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McGillivray, Glen James. "Theatricality: A critical genealogy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1428.

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ABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.

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Pham, Van Khanh. "Theatricality in Tintoretto's religious paintings." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22618.

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Tintoretto, one of the great Venetian masters of the sixteenth century, is renowned for his compositional innovations. The painter also worked as a stage and costume designer for the Compagnie della Calza. As a result, he selected and combined elements of other disciplines in his pictures.
This thesis focuses on the fusion of the arts in Tintoretto's imagery. A comprehensive analysis of this interdisciplinary aspect reveals the subtlety of Tintoretto's creative mind. The challenge is to discover Tintoretto as a stage designer who conceived pictures as theatrical performances. Instead of the traditional preparatory sketch, he built a miniature stage in order to visualize the scene in tangible forms existing in light and space. The design of the setting, the gestural choreography of his personages and the distribution of lighting were analysed and then translated into painted illusion. With this unusual methodology, Tintoretto invented forceful mise-en-scenes which induce the spectator to perceive the imaginary as real. A substantial knowledge of stagecraft also enabled him to bring to vibrant life the dramatic episodes of the Bible on canvas. Through such artfully constructed theatrical illusion, Tintoretto not only re-creates a vision for his audience, but above all, conveys the depth of his spiritual experience.

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Papadi, D. "Tragedy and theatricality in Plutarch." Thesis, University College London (University of London), 2007. http://discovery.ucl.ac.uk/1444999/.

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The present thesis focuses on the role of tragedy and on the multiple versions of theatricality in selected Essays and Lives of Plutarch. Most interestingly the 'tragic' does not emerge exclusively from the many quotations from the tragedians which are dispersed in the whole of the Plutarchan corpus, especially in his Essays it also emerges from distinctive suggestions of tragedy, tragic imagery, tragic parallels and texturing. Plutarch acknowledges the importance of tragedy in literary education, but is still very ready to criticise what the poets say. Even so, he does not treat tragedy negatively in itself, but figures it as a possibly bad and corrupting thing when it is wrongly transferred to real-life contexts. In this way he requires from his readers thoughtfulness and reflection on that relation between tragedy and real life, while he also makes them reflect on whether there is a distinctive 'tragic stance of life', and if so whether a philosophical viewpoint would cope with real life more constructively. In the Lives there may be less explicit thematic hints of tragedy, yet there is a strong theatricality and dramatisation, including self-dramatisation, in the description of characters, such as Pompey and Caesar, particularly at crucial points of their career and life. By developing the idea that the 'tragic' aspects may relate to the ways in which characters are morally or philosophically deficient or cause them to falter - but if so, in a way that is itself familiar from tragedy - they also relate extremely closely to the characteristics which make the people great. The tragic mindset (this idea will be illustrated from Plutarch's direct references to tragedy as well as his allusions to the theatrical world) offers a fresh angle in reading Plutarch's work and makes the reader engage more in thinking how both 'tragic' and theatre can be used as a tool to explore a hero's distinctiveness in addressing the issues of his world.

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Robertson, Jacob L. "Theatrical Ideology: Toward a Rhetoric Theatricality." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2858.pdf.

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Barakat, Mohsen Mosilhi A. "The theatricality of Edward Bond's plays." Thesis, University of Kent, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279150.

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Books on the topic "Theatricalism"

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1960-, Davis Tracy C., and Postlewait Thomas, eds. Theatricality. Cambridge: Cambridge University Press, 2003.

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Josette, Feral, ed. Theatricality. Madison, Wisconsin: University of Wisconsin, 2002.

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Chaucerian theatricality. Princeton, N.J: Princeton University Press, 1990.

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Whittaker, Herbert. Whittaker's theatricals. Toronto: Simon & Pierre, 1992.

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Paavolainen, Teemu. Theatricality and Performativity. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73226-8.

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The theatricality of Robert Lepage. Montreal, QC: McGill-Queen's University Press, 2007.

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Roman tragedy: Theatre to theatricality. Austin: University of Texas Press, 2004.

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Willis, Emma. Theatricality, Dark Tourism and Ethical Spectatorship. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137322654.

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Voskuil, Lynn M. Acting naturally: Victorian theatricality and authenticity. Charlottesville: University of Virginia Press, 2004.

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Transgressive theatricality, romanticism, and Mary Wollstonecraft. Farnham, Surrey, England: Ashgate, 2011.

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Book chapters on the topic "Theatricalism"

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Wallace, E. Bert. "Theatricalism." In Style: An Approach to Appreciating Theatre, 46–110. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429283147-4.

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Fuchs, Elinor. "Clown shows: Anti-theatricalist theatricalism in four twentieth-century plays." In Against Theatre, 39–57. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230289086_3.

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Corrigan, Mary Ann. "Realism and Theatricalism in A Streetcar Named Desire." In Essays on Modern American Drama, edited by Dorothy Parker, 27–38. Toronto: University of Toronto Press, 1987. http://dx.doi.org/10.3138/9781487577803-004.

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Pechter, Edward. "New Theatricalism and the Repudiation of Literary Interest." In Shakespeare Studies Today, 91–115. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230119369_6.

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Overton, Bill. "Theatricality." In The Winter’s Tale, 64–70. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20036-8_14.

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Jones, Amelia. "Theatricality." In In Between Subjects, 131–85. Abingdon, Oxon ; New York, NY : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003081647-4.

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Aughterson, Kate. "Webster’s Theatricality." In Webster: The Tragedies, 161–83. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-4039-1914-4_8.

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Yinan, Li, Boris Nikitin, Wang Mengfan, and Kai Tuchmann. "Rethinking Theatricality." In Theater, 33–46. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839459973-004.

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Biet, Christian, and Christophe Triau. "Theatricality questioned." In What is the theatre?, 489–580. London ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429437137-23.

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Cave, Richard Allen. "Webster’s Purposeful Theatricality." In The White Devil and the Duchess of Malfi, 34–36. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-08140-0_5.

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Conference papers on the topic "Theatricalism"

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Junius, Nick, Max Kreminski, and Michael Mateas. "There Is No Escape: Theatricality in Hades." In FDG'21: The 16th International Conference on the Foundations of Digital Games 2021. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3472538.3472561.

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Fan, Huan. "The New “Theatricality” in Performance and Media Arts." In Proceedings of EVA London 2019. BCS Learning & Development, 2019. http://dx.doi.org/10.14236/ewic/eva2019.52.

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Цветкова, Н. Н. "THEATRICALITY IN THE ART OF TEXTILES OF THE 20th–21st CENTURIES." In КОДЫ. ИСТОРИИ В ТЕКСТИЛЕ. Crossref, 2024. http://dx.doi.org/10.54874/9785605162971.2024.3.29.

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Во второй половине ХХ столетия в период «пластического взрыва» появились новые объемно-пространственные текстильные формы — артобъекты, инсталляции, перформансы и хэппенинги. Многие из созданных в это время работ отличаются своеобразной «театральностью». В современном текстильном искусстве тенденция соединения ткани с театральным действом остается актуальной. В статье рассмотрены примеры взаимовлияния и взаимодействия текстильных форм с пространством театра. In the second half of the twentieth century, during the period of the “plastic explosion”, new three-dimensional textile forms appeared – art objects, installations, performances and happenings. Many of the works created at this time are distinguished by a kind of “theatricality”. In modern textile art, the tendency to combine fabric with theatrical action remains relevant. The article considers examples of the mutual influence and interaction of textile forms with the theater space.

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Malan, David J. "Computer Science with Theatricality: Creating Memorable Moments in CS50 with the American Repertory Theater during COVID-19." In SIGCSE 2023: The 54th ACM Technical Symposium on Computer Science Education. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3545945.3569859.

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Ghilaş, Ana. "Prose and theatre. A stage vision of director Alexandru Cozub." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.19.

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Th e interference of the arts, respectively the inter- and trans-disciplinary methods, constitute the perspectives of approaching the show “Frunze de dor”/”Leaves of Longing” based on the novel of the same name by Ion Druță. Th e stage adaptation and direction belong to Alexandru Cozub, artistic director and fi rst director of “Mihai Eminescu” National Th eater from Chisinau. Th e object of research is the relationship between prose and theater, the forms of theatricality in the narrative literary text and the artistic ways of their scenic realization in the show. In this context, the specifi cs of the artistic vision of the prose writer I. Druță, his style and the way of reception and creation of the scenario by the director A. Cozub, as well as the artistic realization of the show, are highlighted. Th e director preserved the consecutiveness of the development of the action, the main scenes from the lyrical Druțian novel, creating a theatrical discourse in which the transition from epic to dramatic is fully manifested, the authorship and orality being, for the most part, transmitted to the choir or to specifi c characters, thus demonstrating that the voice of the author in the epic work acquires a certain dramatic intensity in the stage action

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Wai Michael Siu, Kin, Jinjin Wang, and Changxue Pan. "Theatricalization of Large Cruise Public Space and Design Transformation." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003260.

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As a place for tourists to communicate and interact, the public space of large cruise ships has become an important aspect of the design and construction of large cruise ships due to its dense functional units and core spatial location. In response to the lack of experience and spatial vitality in the public space of large cruise ships, this study attempts to apply dramaturgical theory and take the theatre, the physical space that carries the core of dramatic meaning, as the origin of the analogy. From the perspective of the dramatization of large cruise ship public spaces, “theatricalization” is introduced into the design of large cruise ship public spaces for exploration, returning to the meaning and emotional value of large cruise ship public spaces and attracting tourists to revisit them. Based on the core characteristics of the “theatricalization” of large cruise ship public spaces - theatricality, presence and spectacle, combined with theatrical narrative performance and scene construction, the design methods of large cruise ship public spaces are summarised and analysed in depth, actively building large cruise ship public spaces that interact with tourists. The study breaks through disciplinary limitations and forms a heterogeneous dimension for observing and understanding large cruise ship public spaces.

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Losq, Juliette. "Layered Visions In The Teleorama: Constructing Spaces Of Ruination Through An Expanded Drawing Practice." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.qpkd6594.

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Abstract This paper examines whether the form of the Teleorama or paper peep show can be used to generate new ways of making and exhibiting drawings of contemporary sites of ruination. The Teleorama will be used as a physical and conceptual vehicle for testing out a diverse range of investigations relating to form and content in drawing practice. Within my practice, paper ruins, inspired by Teleoramas, are constructed and used as maquettes from which to make two-dimensional drawings that are retranslated into large-scale, three-dimensional installations. Through the process of (re) construction, the research will develop an understanding of the Teleorama as a partially imagined, partially ‘real’ space that can transport the viewer conceptually from one place to another. I use the Picturesque, as a spatial and perceptual theory relating to painting and garden design, to explore how the Teleorama can be conceptualised as both a series of drawings on two-dimensional planes and a three-dimensional space, focusing on the fundamental ideas of ‘absorption’ and ‘theatricality’ as expounded by Michael Fried (1980), and ‘immersion’ as expounded by Arnold Berleant (2004). By identifying aspects of the Teleorama that cannot be compared to either paintings or gardens as spaces, I foreground its unique ability to represent the apparent collapse of space and time in a material form and enable an oscillation between two- and three-dimensional design and construction. By focusing on how space is created and experienced within selected contemporary installation practices, I aim to position my practice within the broader discursive fi eld of installation, distinguishing their use of space from my use of the Teleorama to create immersive drawn environments reinterpret ruin sites in gallery settings. Through interrogating and reconfi guring the historical form of the Teleorama, I aim to propose new models of installation practice within the field of contemporary drawing. Keywords: installation, drawing, space, picturesque, absorption, immersion

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Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

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“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.

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Reports on the topic "Theatricalism"

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Poloboc, Alina. Fancy Lollipop. Intellectual Archive, December 2023. http://dx.doi.org/10.32370/iaj.2997.

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"Fancy Lollipop" is a vibrant and energetic artwork featuring a blend of bold and bright colors. The color palette, which includes shades of blue, pink, and black, creates a sense of drama and theatricality in the piece. The colors are strategically placed in the composition to emphasize key elements of the image, such as the main character, Fancy Lollipop. Speaking of the main character, Fancy Lollipop is depicted as an extravagant and self-assured individual. Their presence in the artwork is unmistakable, and their confident and assured stance reflects their bold and attention-grabbing personality. The use of quick, expressive brushstrokes in their figure creates a sense of movement and energy, further enhancing the feeling of spectacle and showmanship in the piece. Overall, "Fancy Lollipop" is an impressive example of contemporary art that draws on real-life characters encountered by the artist during their stay in Miami. The artwork offers an immersive visual experience that captures the viewer`s attention with its colorful and energetic composition, and is sure to leave a lasting impression on those who encounter it.

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