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Journal articles on the topic 'Theatricalism'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 May 2024

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1

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

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2

Shrivastwa, Bimal Kishore. "Metatheatricality and Self-reflexivity in Subedi’s Plays." KMC Journal 5, no. 1 (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 sc

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3

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

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4

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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5

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

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6

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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7

Christian, Mary. "Performing Marriage: A Doll's House and Its Reconstructions in Fin-de-Siècle London." Theatre Survey 57, no. 1 (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

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8

Lavery, Carl. "Theatricality and Drifting in the Anthropocene." Nordic Theatre Studies 32, no. 1 (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 d

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9

Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida." Performance Philosophy 3, no. 1 (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 Mich

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10

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

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11

Litvak, Joseph. "The Infection of Acting: Theatricals and Theatricality in Mansfield Park." ELH 53, no. 2 (1986): 331. http://dx.doi.org/10.2307/2873260.

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12

Sarieva, E. A. "Vasily Gushchinsky — the Last ‘Tramp’ on Stage." Art & Culture Studies, no. 1 (March 2024): 82–101. http://dx.doi.org/10.51678/2226-0072-2024-1-82-101.

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The article examines the establishment and development of stage feuilletons in the 1920s-1930s on the example of Vasily Gushchinsky. On the pre-revolutionary stage, couplet singers performing as ‘tramps’ were very popular. After the revolution, Vasily Gushchinsky (1893–1940) continued the traditions of the ‘ragged genre’, trying to adapt it to the challenges of new times. Gushchinsky managed to preserve the language and speech style of ‘tramps’ and appeared in the image of either a militant renegade dissatisfied with innovations and the Soviet order or a plain fellow, an active member of the s

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13

Rakhimova, Maya V. "Reflections on the theatrical nature of a human being: suggestion and its hidden potential." Вестник Пермского университета. Философия. Психология. Социология, no. 2 (2022): 242–53. http://dx.doi.org/10.17072/2078-7898/2022-2-242-253.

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The scientific interest of this work lies in the field of philosophical anthropology — the study of a human being as a complex open self-organizing system, where one of the constituent elements is, presumably, Theatricality. The author believes that theatrical techniques used by a human being in everyday life help him to adapt to the life in society, to others, and to himself. Theatricality appears as a kind of survival mechanism and a way of adapting to external and internal challenges. Being in plain sight, this amazing mechanism of social communication still remains somewhat hidden, studied

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14

Prokopovych, Lada. "Theatrical component of protests against Covid-quarantines: socio-philosophical reflection." Grani 24, no. 2 (2021): 101–9. http://dx.doi.org/10.15421/172118.

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The socio-political life of society presupposes communication between the authorities and the people, and the people with the authorities. This communication can be carried out in various forms, including with elements of theatricality (play, performance, artistry, costumes and sets, drama, direction, etc.). The Covid-19 pandemic has largely changed the socio-political life of different countries, but has not canceled the desire of people to theatricalize this life. This is evidenced, in particular, by the protests against the Covid-quarantines, which added new techniques and subjects to the r

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15

Petrović-Lotina, Goran. "Theatricality." Performance Research 24, no. 4 (2019): 68–75. http://dx.doi.org/10.1080/13528165.2019.1641326.

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16

Weltman, Sharon Aronofsky. "Theatricality." Victorian Literature and Culture 46, no. 3-4 (2018): 913–17. http://dx.doi.org/10.1017/s1060150318001171.

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17

Marchenko, Valerii. "Theatricality in Contemporary Symphonic Music." Revista Gestão Inovação e Tecnologias 11, no. 3 (2021): 861–69. http://dx.doi.org/10.47059/revistageintec.v11i3.1981.

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18

Quick, Andrew, and Richard Rushton. "On Theatricality." Performance Research 24, no. 4 (2019): 1–4. http://dx.doi.org/10.1080/13528165.2019.1655350.

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19

Siemens, Elena. "Theatricality (review)." ESC: English Studies in Canada 31, no. 2 (2005): 360–62. http://dx.doi.org/10.1353/esc.2007.0031.

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20

Mills, Otto H., Arnold Klein, Thomas Stephens, and Ronald Rizer. "Acne theatricalus." Journal of the American Academy of Dermatology 50, no. 3 (2004): P22. http://dx.doi.org/10.1016/j.jaad.2003.10.093.

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21

GHILAȘ, Ana. "Intermediate ways of creating theatricality in artistic discourse." Arta 31, no. 2 (2023): 67–71. http://dx.doi.org/10.52603/arta.2022.31-2.09.

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Th e article addresses the issue of theatricality, especially the way of creating this cultural phenomenon in the dramaturgical text and in the narrative artistic text. Theatricality understood as a cultural and aesthetic aspect is combined in some types of speeches with theatricality in life, especially in prose. If in the dramaturgical text its structure (dialogue — stage directions) constitutes a first element of theatricality, then the theatrical techniques from the show (ad spectatores, the monologue, the actor’s corporeality, etc.) are elements that can also be found in the narrative lit

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22

Braun, Kazimierz. "Teatralizacje Cypriana Norwida." Tematy i Konteksty 12, no. 17 (2022): 256–78. http://dx.doi.org/10.15584/tik.2022.18.

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The article investigates selected uses of theatricality by the poet and playwright Cyprian Norwid (1821-1883). Based on his previous works on theatricality, among others, his book “Theatricality of Life. Practices and Startegies” (A. Marszałek, Toruń 2020), as well as his numerous publications on Norwid, Kazimierz Braun focuses on four, especially evident, cases of Norwid’s bringing theatricality into play in his life. They are discussed in the chapters of the article: “Norwid on Horseback, Norwid Without a Coat, Norwid in a Cap “Konfederatka”, Norwid as Dalang”. (The latter chapter compares N

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23

Kolenc, Bara. "On repetition and theatricality: Dialogue with Samuel Weber." Maska 33, no. 191 (2018): 52–61. http://dx.doi.org/10.1386/maska.33.191-192.52_1.

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In this article, I question the notion of theatricality, which points to the ever-problematic encounter of philosophy and theatre. I do this in dialogue with Samuel Weber’s elaboration of this concept in his book Theatricality as Medium from 2004 as well as with his reading of Kierkegaard’s Repetition, An Essay in Experimental Psychology, which can be found in Weber’s discussion with Terry Smith titled Repetition: Kierkegaard, Artaud, Pollock and the Theatre of the Image. I argue that viewing the encounter of philosophy and theatre through the perspective of repetition offers a very productive

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24

Fischer-Lichte, Erika. "“All the World’s a Stage”: Theatricality as a Key Concept in Cultural Studies." Symbolon 24, special (2023): 7–20. http://dx.doi.org/10.46522/s.2023.s1.01.

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In this paper, I present a broader interpretation of theatricality, which can be a useful basis for research in cultural studies. The reader is also provided a historical overview of the concept of theatricality. We are given some insight into Russian theoretician Nikolaj Evreinov’s theory of theatricality. Further on, I present an overview of the influence Evreinov’s ideas had on theatre studies. According to me, four aspects can be distilled from Evreinov’s concept of theatricality: that of the performance, that of the mise-en-scène, that of physicality, and that of perception.

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25

David, Deirdre, and Nina Auerbach. "Victorian Theatricals." NOVEL: A Forum on Fiction 24, no. 3 (1991): 337. http://dx.doi.org/10.2307/1345947.

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26

Hawley, Judith. "Dilettante Theatricals." Performance Research 25, no. 1 (2020): 67–72. http://dx.doi.org/10.1080/13528165.2020.1736745.

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27

Meserve, Walter J., and Jean-Christophe Agnew. "Theatricality and Commerciality." American Quarterly 39, no. 2 (1987): 318. http://dx.doi.org/10.2307/2712920.

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28

Weber, Samuel. "Psychoanalysis and Theatricality." Parallax 6, no. 3 (2000): 29–48. http://dx.doi.org/10.1080/135346400422448.

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29

Frank, Marcie. "Frances Burney’s Theatricality." ELH 82, no. 2 (2015): 615–35. http://dx.doi.org/10.1353/elh.2015.0012.

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30

Wakefield, Nik. "Theatricality and Absorption." Performance Research 24, no. 4 (2019): 35–43. http://dx.doi.org/10.1080/13528165.2019.1641321.

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31

Orr, Bridget. "Understanding Anti-Theatricality." Eighteenth-Century Life 43, no. 1 (2019): 131–36. http://dx.doi.org/10.1215/00982601-7280334.

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32

Johnson, Laurie. "Early modern theatricality." Shakespeare 11, no. 2 (2015): 236–39. http://dx.doi.org/10.1080/17450918.2015.1019553.

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33

Christoffersen, Erik Exe. "Teatralitet, teatralsk og teatralisering." Peripeti 4, no. 7 (2007): 89–98. http://dx.doi.org/10.7146/peri.v4i7.107632.

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Exploring theatricality as a concept of difference, Erik Exe Christoffersen shows how theatricality and the staging of the gaze can be seen from different historical, sociological, and medial perspectives.

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34

Cornago, Oscar. "La teatralidad como crítica de la modernidad." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 242. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-178.

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Este artículo presenta el concepto de teatralidad como un enfoque crítico hacia la Modernidad; para ello analiza el funcionamiento de la teatralidad y expone la utilidad de este concepto como instrumento de análisis de los sistemas estéticos y los discursos culturales del siglo XX. This essay proposes the concept of theatricality as an effective critical approach to Modernity by showing how theatricality functions and revealing the usefulness of theatricality as an instrument of analysis of the aesthetic systems and cultural discourses of the XXth century.

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35

Thygesen, Mads. "»Jeg kan lide, når teatret spiller med åbne kort«." Peripeti 4, no. 7 (2007): 51–64. http://dx.doi.org/10.7146/peri.v4i7.107629.

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Taking Roland Barthes’ distinction: »theater minus text = theatricality« as a point of departure, Mads Thygesen discusses the relationship between theatricality and enunciation in one of the most recent works by German playwright Roland Schimmelpfennig, Auf der Greifwalder Straße (2006).

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36

Pimonov, V. I. "MIMICRY AND THEATRICALITY: A FORMAL MODEL." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 87 (2022): 83–90. http://dx.doi.org/10.37313/2413-9645-2022-24-87-83-90.

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Object of the article: mimicry and theatricality. Subject of the article: difference and similarity between mimicry and theatricality. Purpose of the research: creating the semiotic model of transformation of mimicry into theatricality. Results: in mimicry, three meta-roles are at play: the mimic, the dupe and the model. The mimic imitates signals, emitted by the model. The dupe, being an enemy of the mimic, is thus deceived by the mimic's signals. Mimicry can be expressed by the scheme: “A” acts in front of “B” in the role of “C”, where “A” is the mimic, “B” is the dupe - a victim of deceptio

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37

Nkashama, Pius Ngandu. "Theatricality and Social Mimodrama." Research in African Literatures 30, no. 4 (1999): 176–85. http://dx.doi.org/10.2979/ral.1999.30.4.176.

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38

Carlson, Marvin. "The Resistance to Theatricality." SubStance 31, no. 2/3 (2002): 238. http://dx.doi.org/10.2307/3685489.

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39

Harries, Karsten. "Theatricality and Re-Presentation." Perspecta 26 (1990): 21. http://dx.doi.org/10.2307/1567151.

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40

Wilson, Harry Robert. "The Theatricality of Grief." Performance Research 24, no. 4 (2019): 103–9. http://dx.doi.org/10.1080/13528165.2019.1641331.

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41

Kleij, Sonja. "Theatricality and the Public." English: Journal of the English Association 67, no. 259 (2018): 389–91. http://dx.doi.org/10.1093/english/efy051.

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42

Pomeroy, Arthur John. "Theatricality in Tacitus's Histories." Arethusa 39, no. 2 (2006): 171–91. http://dx.doi.org/10.1353/are.2006.0018.

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43

Pius Ngandu Nkashama and R. H. Mitsch. "Theatricality and Social Mimodrama." Research in African Literatures 30, no. 4 (1999): 176–85. http://dx.doi.org/10.1353/ral.2005.0044.

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44

Weber, Samuel. "Special Effects and Theatricality." Emergences: Journal for the Study of Media & Composite Cultures 10, no. 1 (2000): 119–26. http://dx.doi.org/10.1080/713665791.

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45

TURNER, HENRY S. "Toward a New Theatricality?" Renaissance Drama 40 (January 2012): 29–35. http://dx.doi.org/10.1086/rd.40.41917496.

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46

Sobol, Joshua. "Theatricality of Political Theatre." Maske und Kothurn 33, no. 3-4 (1987): 107–12. http://dx.doi.org/10.7767/muk.1987.33.34.107.

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47

Carlson, Marvin A. "The Resistance to Theatricality." SubStance 31, no. 2 (2002): 238–50. http://dx.doi.org/10.1353/sub.2002.0022.

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48

Fischer-Lichte, Erika. "I — Theatricality Introduction: Theatricality: A Key Concept in Theatre and Cultural Studies." Theatre Research International 20, no. 2 (1995): 85–89. http://dx.doi.org/10.1017/s0307883300008294.

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At the Theatre Historiography Symposium, held during the 1993 Helsinki IFTR/FIRT Conference, a specific term came into circulation which infiltrated and permeated the discussion to such an extent that it appeared to adopt the position and function of a key term in theatre historiography: ‘theatricality’. This was no great surprise, however. For the symposium set out to consider two basic issues: first, to examine the application of analytic strategies from other disciplines to theatre history and, secondly, to identify the distinctive features of theatre history as a single discipline. Both co

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49

Salvato, Nick. "Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater." Modern Drama 66, no. 1 (2023): 121–23. http://dx.doi.org/10.3138/md-66-1-rev1.

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In Baroque Modernity, Joseph Cermatori upends received ideas about modernism’s anti-theatricality by carefully identifying, and closely unpacking, the surprising strains of baroque theatricality running through works by Nietzsche, Mallarmé, Benjamin, Stein, and others. The book also illuminates the necessity of modern philosophy to modern drama and theatre – and vice versa.

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50

Selles, Ramon. "Tacitus en het toneel van Nero." Lampas 53, no. 1 (2020): 49–66. http://dx.doi.org/10.5117/lam2020.1.005.sell.

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Summary On the basis of a broad perspective on theatricality and tragedy in imperial Rome this article argues that theatrical and tragic elements play an important role in the episode on the death of Nero’s mother Agrippina in Tacitus’ Annals 14.1-10. These elements fall into three categories: 1) theatricality, 2) generic, tragic elements and 3) allusions to specific tragic texts. These evocations of the (tragic) stage serve to underscore Tacitus’ characterization of the reign of Nero and of imperial Roman society in general as fundamentally artificial. Tacitus’ use of tragic material does not

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