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Journal articles on the topic 'Theatricality'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

Bayard, Marc. "La théâtralité picturale dans l'art italien de la Renaissance." Studiolo 3, no. 1 (2005): 39–64. http://dx.doi.org/10.3406/studi.2005.1138.

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Pictorial Theatricality in Italian Renaissance Art. Pictorial theatricality in 16th-century Italian painting cannot be solely considered from the point of view of influence and quotation. After isolating the methodological trends used by art and theatre historians regarding the relationship between the two art forms, we intend to establish a historical and methodological distinction between two kinds of pictorial theatricality. The aim of referential pictorial theatricality and processional pictorial theatricality is to show that the relationship between painting and theatre is not of the orde

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9

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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10

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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11

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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12

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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13

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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14

Chvalun, Roza Vladimirovna, and Natalia Igorevna Kizilova. "Means of implementing the category of theatricality in the semiotically heterogeneous text of calligrammes (based on G. Apollinaire’s calligrammes)." Philology. Theory & Practice 17, no. 9 (2024): 3276–85. http://dx.doi.org/10.30853/phil20240463.

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The research aims to provide a comprehensive description of the implementation of the linguosemiotic category of theatricality in the semiotically heterogeneous text of Guillaume Apollinaire’s calligrammes. The article outlines the main research units and aspects of theoretical description, provides definitions and an overview of the key parameters of theatricality in a semiotically heterogeneous text, specifically in Apollinaire’s calligrammes. Given that theatricality is a significant category in any context, determining the choice of means to achieve set goals, the consideration of the auth

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15

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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16

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

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17

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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18

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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19

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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20

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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21

Marios, Kappatos. "H έννοια της θεατρικότητας στην Προϊστορία, στην αρχαϊκή και στην κλασική Ελλάδα". Archive 19, № 1 (2023): 15–34. https://doi.org/10.5281/zenodo.7770564.

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A plethora of archaeological finds from caves in France and Spain suggest the performance of theatrical events, and testify to the existence of an early form of theatricality as early as the Paleolithic Age. Gradually the concept of theatricality expanded covering a wide range of human communication. Today it is a fact that everyday life is full of behaviors and images that are distinguished for their theatricality, in the effort made by specific groups and individuals to provoke targeted reactions to any recipients. In this essay, the concept of theatricality has been approached through the e

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22

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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23

Gazniuk, Lidiia, and Yuliia Semenova. "THEATRICALITY AS “AFFECTIVE REALITY” IN THE SOCIO-CULTURAL EXISTENCE OF HUMAN." Journal of V. N. Karazin Kharkiv National University, Series "Philosophy. Philosophical Peripeteias", no. 70 (June 21, 2024): 104–12. https://doi.org/10.26565/2226-0994-2024-70-8.

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The presence of theatricality as an "affective reality" in the structures of a person's sociocultural existence is revealed. It is shown that the phenomenon of theatricality is inherent in social activity, and the desire to emulate and imitate confirms the readiness to reproduce and repeat certain actions that are rooted in human nature. The understanding of the socio-cultural space as artificial within the framework of the structural-semiotic approach is substantiated, its characteristics such as tension, brokenness, which reflect the features of theatricality in the perception of social real

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24

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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25

Dallas, Helen. "Theatre, Anti-Theatricality and Anti-Blackness in Romantic Criticism." Romanticism 30, no. 3 (2024): 261–71. http://dx.doi.org/10.3366/rom.2024.0658.

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This article argues that anti-theatricality is entrenched in, even a manoeuvre of, anti-Blackness. The article begins by establishing the contexts of the first Black actor known to have played Othello in Britain – Ira Aldridge in the first half of the nineteenth century – and, conflictingly, the repeated efforts in Romantic-era performance and criticism to reject Othello’s Blackness. These contexts highlight the default white perspective of Romantic theatrical texts, and the role anti-Blackness had in shaping Romantic dramatic criticism. Having introduced these concepts, I offer a close readin

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26

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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27

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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28

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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29

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

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30

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

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31

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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32

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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33

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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34

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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35

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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36

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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37

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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38

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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39

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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40

Rakhimova, Maya Vil'evna. "Philosophical thinking of the “theatrical" nature of a human being: in search of directions for the study of "everyday theatricality"." Философия и культура, no. 3 (March 2025): 89–105. https://doi.org/10.7256/2454-0757.2025.3.73432.

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The relevance of the work is determined by a philosophical understanding of the "theatrical" nature of a human being, which manifests itself in the context of "everyday theatricality" as a philosophical and anthropological phenomenon. This scientific work focuses on the understanding of three directions - anthropological, biological-psychological, philosophical; the concepts of "everyday theatricality" and "theatrical" human nature are comprehended and involved as the most conceptually close. "Everyday theatricality" is characterized as a complex open self-organizing phenomenon of adaptation o

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41

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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42

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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43

Attinkpasso, Vincent, Dédjinnaki Romain Hounzandji та Jules Lokonon. "The Vodùn ritual sɔ́ gbɔ̌ in Benin: Place of Theatricality and Oral Literary Performance". Uirtus 4, № 3 (2024): 179. https://doi.org/10.59384/uirtus.2024.2663.

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In Benin, periodic rituals are organized to honor the Vodun. An observation of these rituals reveals that, beyond their social and spiritual dimensions, there is also an artistic dimension involving theatricality and oral literary performance. Vodùn sɔ́ gbɔ̌, a ritual performed as a prelude to the Vodun Sakpata dance, clearly illustrates the presence of theatrical and oral literary performance. How do theatricality and literary speech manifest during the enactment of the Vodùn sɔ́ gbɔ̌ ritual? It can be assumed that the theatrical and oral arts reveal themselves through signs and forms that em

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44

Holt, Annie. "Michelle Liu Carriger. Theatricality of the Closet: Fashion, Performance and Subjectivity Between Victorian Britain and Meiji Japan." Modern Drama 67, no. 4 (2024): 490–92. https://doi.org/10.3138/md-67-4-rev1.

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A deep analysis of the meaning of clothing across many contexts, linking English and Japanese case studies as well as nineteenth- and twenty-first-century examples, Theatricality of the Closet redefines theatricality and its connection to identity. It will be of interest to scholars of theatre and performance, visual culture, fashion, gender, and sociology.

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45

Лучинский, Ю. В., and Л. Ю. Стрельникова. "Theatricality and its Pivotal Role in V. V. Nabokov’s Modernist Literary Works." Вестник Рязанского государственного университета имени С.А. Есенина, no. 2(75) (August 4, 2022): 119–28. http://dx.doi.org/10.37724/rsu.2022.75.2.012.

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В статье рассматривается функционирование театральности в модернистской прозе В. В. Набокова, которая способствовала созданию инновационных форм творчества. Гипотеза состоит в том, что принцип театральности в модернистской литературе становится ее типологической чертой, выявляя отклонение от классического канона и ориентируя писателя на восприятие мира как игрового творческого пространства. Высокие художественные решения в модернизме были построены на синтезе искусств, в том числе театра, что расширило творческие возможности писателя, позволив ему создавать гибридные тексты, сочетающие эпичнос

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46

Tan, Marcus Cheng Chye. "The Curios Carnival." TDR: The Drama Review 66, no. 3 (2022): 52–63. http://dx.doi.org/10.1017/s1054204322000296.

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Theatricality in music performances is often regarded as extraneous, but avantgarde toy pianist Margaret Leng Tan exploits the intermediality between theatricality and musicality to demonstrate how theatrimusicality is imperative to the creation and reception of her music. Curios (2015) is one example in which the work’s structure of meaning and the experience of the carnivalesque are evoked through such a theatrimusical dramaturgy.

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47

Ogrodnik, Benjamin. ""The Theatricality of the Emulsion!"." Screen Bodies 4, no. 2 (2019): 1–22. http://dx.doi.org/10.3167/screen.2019.040202.

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This article reexamines the career of Roger Jacoby (1945–1985), an abstract painter and gay liberation activist who became renowned for processing film in his darkened bathtub and for films that featured his partner, Ondine, the Andy Warhol Superstar. Through a consideration of film shorts made in the 1970s and 1980s, the article argues that Jacoby’s principal innovation was the exploration of hand-processing, which resulted in films that resembled abstract expressionist paintings in motion. Additionally, it considers hand-processing as an overlooked, albeit powerful, vehicle for expressing no

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48

Fiebach, Joachim. "Dimensions of Theatricality in Africa." Research in African Literatures 30, no. 4 (1999): 186–201. http://dx.doi.org/10.2979/ral.1999.30.4.186.

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49

Rozik, Eli. "Acting: The Quintessence of Theatricality." SubStance 31, no. 2/3 (2002): 110. http://dx.doi.org/10.2307/3685481.

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50

Magnat, Virginie. "Theatricality from the Performative Perspective." SubStance 31, no. 2/3 (2002): 147. http://dx.doi.org/10.2307/3685483.

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