Journal articles: 'Theatricalism'

1

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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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 society under construction. Theatricalism and clown tricks helped to enhance the artistic expressiveness of the performed repertoire, while complex props allowed remaining within the framework of the attraction-feuilleton and the created image, playing on current events. Basically, those were poetic feuilletons in the form of rayok and couplet songs combined into ‘evenings of satire and laughter’. The years of the first five-year plan posed the question of new content even more acutely for Gushchinsky. He began to perform mostly free poetic feuilletons. They continued to expose the true face of an average man, a tradesman, and a former nepman, and at the same time, glorified the pathos of heroic deeds and positive changes in the construction of a new society, which was the first step towards the general trend of creating a positive feuilleton. In the 1930s, the image of an average man lost its acuteness. The variety art was forced to raise the subjects of historical changes and a new person. In search of a new feuilleton form, variety artists started to attract ‘partners’, thus artificially creating a conflict and performing ‘false dialogues’.

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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 abundantly but fragmentarily. It is difficult to trace the genesis of the formation of the Homo Theatrical’s phenomenon as well as to understand the mechanism and purpose of his everyday theatrical behavior. The Play and Theatricality as phenomena are closely intertwined, but not equal to each other. The Play does not involve breaking the rules, while the Homo Theatrical breaks the rules when he needs it. Among the elements of the theatrical nature of a human being, one can distinguish pretense, representation, manipulation, artistry, cunning, pragmatism, as well as suggestion. Suggestion appears as a phenomenon that is very common in the social environment. It has a viral potential and represents a kind of «psycho infection» for the brain. A Homo Theatrical strives to use suggestion to achieve pragmatic goals and, therefore, the theatrical nature itself acquires a viral potential. Reflection upon the viral potential of suggestion («psycho infection») contributes to a deeper analysis of the viral potential of the theatrical nature of a human being, which cannot but rely on an irresistible craving for suggestion, understanding the power of the influence of suggestion in achieving the desired.

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Prokopovych, Lada. "Theatrical component of protests against Covid-quarantines: socio-philosophical reflection." Grani 24, no. 2 (February 28, 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 repertoire of the political “theater”. The purpose of this study is to identify elements of theatricality in protests against Covid-quarantines and to interpret them in a socio-philosophical aspect. The methodological strategy of this study is based on the concept of theatricality of socio-communicative manifestations of culture. This concept allows us to comprehend the essence and forms of existence of social reality in the dynamics of their changes with a change in the cultural (political, socio-economic, informational, etc.) context. As a result of the study, it was found that many protests against quarantine restrictions are characterized by theatrical component withe elements such as play, performance, costumes and scenery, corresponding drama, etc. This is due to the fact that any protest action (whether it be a mass meeting or an individual protest) is a public event addressed to a specific audience to which a specific message needs to be conveyed. However, it was found that in protests against lockdowns, the theatrical component manifests itself in different ways at different stage of the pandemic. During the first wave, elements of costumed performances and comic antics prevailed in them, but for the second wave mass rallies became characteristic, most of which end in clashes with the police. There is much less theatrical content in these actions. This indicates that the theatrical component of the protest action lasts only as long as there is hope for a dialogue with the authorities. When the people do not receive answers to their questions, they begin to use other forms of communication with the authorities.

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15

Petrović-Lotina, Goran. "Theatricality." Performance Research 24, no. 4 (May 19, 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 (June 30, 2021): 861–69. http://dx.doi.org/10.47059/revistageintec.v11i3.1981.

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Quick, Andrew, and Richard Rushton. "On Theatricality." Performance Research 24, no. 4 (May 19, 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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Mills, Otto H., Arnold Klein, Thomas Stephens, and Ronald Rizer. "Acne theatricalus." Journal of the American Academy of Dermatology 50, no. 3 (March 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 (January 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 literary text in the form of authoriality, of various forms of psychology, etc. In this context, an important role in the creation of theatricality is played by intermediality as the interaction of codes specific to certain artistic or non-artistic discourses. We investigate the relationship between theatricality and intermediality from a theoretical and methodological point of view, with some examples from artistic texts or performances.

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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 Norwid with an Indonesian Dalang, who is a “total” artist of theatre). Each case of use of theatricality by Norwid brought about a significant literary output such as poems, dramas, short stories and letters.

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Kolenc, Bara. "On repetition and theatricality: Dialogue with Samuel Weber." Maska 33, no. 191 (September 1, 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 reading, which can be, in general, also referred to Weber’s notion of theatricality, as far as this notion points to certain hollowness or a gap in the processes of representation. To show this, I delineate the concept of productive repetition through Kierkegaard’s concept of Gjentagelsen and link it to Weber’s general notion of theatricality. However, Weber’s elaboration of the concept of theatricality in Theatricality as Medium proves to be very open and therefore also pretty vague, which makes it harder to explicate its clear function. I further proceed by examining Weber’s thesis about theatre setting the scene of possibility in relation to Kierkegard’s theory of posse and the notion of coincidence. I conclude that, unlike Weber’s notion of theatricality in Theatricality as Medium, his suggestion of understanding theatre as the space of possibility proves to be an exact concept, which connects philosophy and theatre through the mechanism of repetition.

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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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Hawley, Judith. "Dilettante Theatricals." Performance Research 25, no. 1 (January 2, 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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Weber, Samuel. "Psychoanalysis and Theatricality." Parallax 6, no. 3 (July 2000): 29–48. http://dx.doi.org/10.1080/135346400422448.

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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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Wakefield, Nik. "Theatricality and Absorption." Performance Research 24, no. 4 (May 19, 2019): 35–43. http://dx.doi.org/10.1080/13528165.2019.1641321.

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

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Johnson, Laurie. "Early modern theatricality." Shakespeare 11, no. 2 (March 3, 2015): 236–39. http://dx.doi.org/10.1080/17450918.2015.1019553.

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Christoffersen, Erik Exe. "Teatralitet, teatralsk og teatralisering." Peripeti 4, no. 7 (January 1, 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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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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Thygesen, Mads. "»Jeg kan lide, når teatret spiller med åbne kort«." Peripeti 4, no. 7 (January 1, 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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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 deception, “C” is the model. Mimicry formally resembles theatricality, where "A" is the character of the play (functionally corresponding to the mimic), "B" is the character-spectator, corresponding to the dupe (victim of deception), "C" is another character, functionally corresponding to the "model". Even so, the difference between signals in mimicry and signs in theater is crucial. Field of application: semiotics, literary studies. Conclusions: The mimicry-to-theatricality transformation requires a real or imaginary border between the space of everyday life and “marked” territory (museum, houseof-worship, stage) that serves as a stop-signal inhibiting (or preventing) automatic actions.

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

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

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

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Wilson, Harry Robert. "The Theatricality of Grief." Performance Research 24, no. 4 (May 19, 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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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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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 (May 2000): 119–26. http://dx.doi.org/10.1080/713665791.

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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 (December 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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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 concerns are closely related to the concept of theatricality.

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Salvato, Nick. "Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater." Modern Drama 66, no. 1 (March 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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Selles, Ramon. "Tacitus en het toneel van Nero." Lampas 53, no. 1 (March 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 reflect an Aristotelian, tragic vision of history, but rather stresses the theatricality of the historical events, drawing upon a cultural memory of Nero and Agrippina as the creators of, and actors in, their own farcical world. At the same time the episode is presented by Tacitus as the paradigmatic starting point of Nero’s engagement in various forms of spectacle entertainment (Annales, 14.11-22). In Tacitus’ presentation of the aftermath of the murder theatricality and spectacle represent a moral decline characterized by lascivia and licentia, reflecting Tacitus’ moral concerns.

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Journal articles on the topic 'Theatricalism'

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