Relevant bibliographies by topics / Theatricality

Academic literature on the topic 'Theatricality'

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Published: 4 June 2021
Last updated: 6 July 2024

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Journal articles on the topic "Theatricality"

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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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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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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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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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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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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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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 order of influence but rather geared towards involving the spectator in a process. In referential theatricality, the viewer uncovers the decoration's referential and poetic value, whereas in processional theatricality, the beholder is placed in a complex corporeal relationship with the space. The inclusive distancing and the importance of intermediary figures posit the idea of the fundamental value of an indirect course in order to reach the ineffable.
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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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Dissertations / Theses on the topic "Theatricality"

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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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Azevedo, Gisel Carriconde. "Installation and theatricality thinking through objects." Thesis, University of East London, 2012. http://roar.uel.ac.uk/1788/.

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The last four years have been intense. The discoveries in the studio, the struggles with my readings and writings, having my work discussed and criticized, the close contact with other artists, scholars, curators and museums, combined with my travels abroad and the experience of living in a metropolis like London, enlightened my practice, enabling me to see from where my work came and find some of the questions it poses. Researching art history proved to be helpful in establishing the context where Installation Art emerged and developed. Claire Bishop’s critical writings provided me with the theory to understand the installation approach to the viewer, and Michael Fried’s criticism of ephemeral works of art and his claims for the autonomy of the art object, established the starting point of my research. My explorations into sculpture brought studio-life at the centre of my creative process and allowed me to look at installation with fresh eyes, reaffirming its importance within my practice and giving me the objectivity necessary to be critical as well. Thinking in terms of ‘making’ increased my awareness of the connections of my work and material culture and brought to the surface the role that audience and objects play in my work. The variety of media I explored and my interest in addressing art institutions and art history made it clear that I am not interested in formal experiments but in working from within the system of values, ideas and practices that form the whole of our culture, visually and theoretically, high and low. This report is organized in seven sections plus references and three appendices. The first section is a brief account of my educational and creative background followed by a shortened version of the proposal I submitted at the end of the first year. The next four sections constitute the main part of my investigation, reflecting the development of theory and practice during the doctorate. The last section is a general conclusion about the whole process. The style of writing reflects the subjective process of describing and analyzing my path throughout the art doctorate. The text is a collage of data, personal thoughts, quotes, aphorisms, diagrams, remarks, doubts and opinions; a bricolage that mirrored my creative process. I owe a lot to my doctorate colleagues and tutors, who helped to push my art further and strengthen me as an artist. I am especially grateful to Alison Winkle, Eemyun Kang, Geoffrey Brunell, Hideyuki Sawayanagi, Karen Raney, Mark Sowden, Sharone Lifschitz, Tim Weston and Tetriana Ahmed Fauzi. Further, I’d like to thank Aharon Amir, Ana Dumitriu, Carla Barreto, Danilo Antonelli, Darius Sokolov, Dulce Mourão, Fabi Borges, Hilan Bensusan, Josephine and David Beaumont, Gilda Carriconde Azevedo, Jussara Zottmann, Laura Virginia, Olga Shaumann and Eric Korn, Philip Jones, Priscilla Salvino, Rachel Cohen, Rita Monteiro, Rogerio Quintão, Susan Jones and Walter Menon who in different ways, generously contributed to my doctorate. Finally, I would like to acknowledge the support of the Brazilian Central Bank museum of money which made my study possible.
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Howell, Anthony James. "The romantic gypsy : history, theatricality, and Bohemianism." Thesis, Swansea University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.681240.

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Atkin, Tamara. "Reforming drama : theology and theatricality, 1461-1553." Thesis, University of Oxford, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508434.

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Watt-Smith, Tiffany. "Flinching self-experimentation and theatricality 1872-1918." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.538674.

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Books on the topic "Theatricality"

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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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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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Sirmons, Julia. Cinematic Theatricality: The Aesthetics of Excess. [New York, N.Y.?]: [publisher not identified], 2022.

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Book chapters on the topic "Theatricality"

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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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Lease, Bryce. "Theatricality & Spectacle." In Staging Difficult Pasts, 38–52. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003315827-3.

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Aughterson, Kate. "Spectacle and Theatricality." In Shakespeare: The Late Plays, 170–92. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-37564-3_9.

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Quirk, Catherine. "Against Anti-Theatricality." In The Routledge Companion to Theatre-Fiction, 350–62. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003204886-33.

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Dancyger, Ken, Jessie Keyt, and Jeff Rush. "Theatricality on Screen." In Alternative Scriptwriting, 295–311. 6th ed. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003242307-23.

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Conference papers on the topic "Theatricality"

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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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Molnar, Angelika. "CONTEMPORARY HUNGARIAN PRODUCTIONS OF MAXIM GORKY'S PLAYS “AT THE BOTTOM”." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3692.rus_lit_20-21/49-52.

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The text of the paper presents the most important modern productions of Maxim Gorky's drama “At the Bottom” (The Lower Depths) on the Hungarian theater stage. The author examines new solutions with the help of which Hungarian scriptwriters and directors theatrically implement a verbal work. The play is present in the repertoire of Hungarian theaters to this day, as one can feel the spiritual kinship between Russian and Hungarian people, the commonality between Russian and Hungarian life, the urgency of the problem of the impossibility of getting from the bottom of society to the top. The popularity of “At the Bottom” is also explained by the fact that Gorky transforms Chekhov's model, endowing it with eternal philosophical content, thesis, and the transfer of conflict to the social plane. Hungarian theatrical art is based on the realistic presentation and execution of the text. However, there are also more daring, modernized performances with radical staging solutions, for example, the rejection of certain scenes or the addition of new ones. The focus of the review is on those modern interpretations that have chosen the “golden mean”.
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Reports on the topic "Theatricality"

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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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TETINA, S. V., Yu V. GUTROVA, I. E. ZHIDKOVA, Yu G. MAKOVETSKAYA, E. S. KRASNITSKAYA, E. G. KOLIKOVA, and N. O. NIKOLOV. BUSINESS DIDACTIC GAME "INDIVIDUAL METHODOLOGICAL STYLE OF TEACHER'S ACTIVITY". SIB-Expertise, March 2022. http://dx.doi.org/10.12731/er0543.17032022.

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Abstract: the proposed business didactic game is aimed at developing the creative attitude of the teacher to his own professional activity. The motivational material of a business didactic game allows the teacher to understand that his activity has sometimes elusive pedagogical algorithms and strategies, the totality of which can be called such a concept as an individual methodological style of activity. In addition to pedagogical strategies, this concept reflects the unique psychological qualities of the individual, which allow the teacher to influence the quality of the acquired knowledge. It is also emphasized that the concept of an individual style of activity is the result of the teacher's internal hard work, the result of a long search, value. On this basis, the individual style of activity rejects the concept of "charisma", since it is self-sufficient and does not need to be theatrically announced to any audience. All the value bases of an individual methodological style of activity are aimed not at narcissism, but at helping students in mastering the internal content of a particular academic subject. The leading sign of the formation of an individual methodological style of activity is the ability to correctly combine one's original author's position on the content principles of the taught subject with the guiding and prescriptive lines of the work program. The author's position of the teacher, which combines the emotional and rational components, is also reflected in external behavioral mechanisms. At the same time, expressive forms of behavior are not a mandatory feature of the individual style of methodological activity. A special style of preparing educational material, a list of methods and forms of teaching is structured on the basis of a situational understanding of the subtle mechanisms of teaching, educating and developing schoolchildren
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