Log in

Relevant bibliographies by topics / Theatricality / Journal articles

Journal articles on the topic 'Theatricality'

To see the other types of publications on this topic, follow the link: Theatricality.

Author: Grafiati

Published: 4 June 2021

Last updated: 6 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Theatricality.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

Petrović-Lotina, Goran. "Theatricality." Performance Research 24, no. 4 (May 19, 2019): 68–75. http://dx.doi.org/10.1080/13528165.2019.1641326.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

15

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

21

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

Abstract:

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).

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

24

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

28

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

35

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

36

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

37

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

38

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.

Full text

Abstract:

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 эпичность и зрелищность. Театральность — структурообразующий элемент художественной системы Набокова, на основе которого автор строит свои фантастические тексты. Ирония и комизм становятся характерными чертами театральности Набокова, сближаясь с элементами абсурда и разрушая серьезное содержание искусства. Развивая новаторское искусство модернизма, Набоков участвует в разработке театральных теорий наряду с В. Э. Мейерхольдом, Н. Н. Евреиновым, А. Арто и др. Поворотный момент, совершенный Набоковым в литературе модернизма, тесно связан с процессом театрализации искусства в целом. В ранней прозе Набокова отчетливо видна нарочитая театральность его произведений, подчеркивается игра персонажей, которые не проживают жизненные ситуации, а играют роль, подготовленную автором. Процесс театрализации прозы Набокова анализируется в духе модернистских представлений о сценическом искусстве как авторском эксперименте, опровергающем миметический канон. Театральная модель прозы Набокова предопределила направление его творчества — превращение жизни в искусство. Делается вывод о том, что техника театральности в творчестве Набокова выступает фактором новаторства и оригинальности его искусства, демонстрируя приоритет игры, зрелищности над реалиями жизни. The article focuses on theatricality in V. V. Nabokov’s modernist prose as a means of creating innovative forms of literature. The hypothesis of the research is that theatricality is a typological feature of modernist literature, which rejects the classical canon and encourages the writer to perceive the world as a creative space. In modernism, artistic solutions are based on the synthesis of arts, including dramatic arts, which endows a writer with expanded opportunities, enabling them to create hybrid texts, which are epic and spectacular. Theatricality is a pivotal element of Nabokov’s writing. Nabokov’s theatricality is based on irony and humour bordering on absurdity and undermining the solemnity of classical literature. Promoting modernist literature, Nabokov participates in the development of theatrical theories together with V. E. Meyerhold, N. N. Yevreinov, A. Arto and others. Nabokov’s revolution in modernist literature is closely connected with theatricality of art in general. Nabokov’s early prose is characterised by elaborate theatricality, his characters play the roles assigned by the author. The theatricality of Nabokov’s prose is analyzed through the prism of modernist ideas about dramatic arts, it discards mimesis and is associated with intrepid experimenting. The authors conclude that the theatricality of Nabokov’s prose is an innovative factor which promotes visual appeal rather than realism.

APA, Harvard, Vancouver, ISO, and other styles

39

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

40

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

Full text

Abstract:

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 non-normative sexuality in American avant-garde film. It situates Jacoby alongside gay filmmakers Kenneth Anger, Gregory Markopoulos, and Jack Smith, and considers how hand-processed media can generate a “corporealized” spectator and disrupt patterns of filmic illusionism and heterosexist protocols of sexual/gender representation.

APA, Harvard, Vancouver, ISO, and other styles

41

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Wortman, Richard. "Comment: Theatricality, Myth, and Authority." Russian Review 50, no. 1 (January 1991): 48. http://dx.doi.org/10.2307/130210.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

Ackerman, Alan. "Introduction: Modernism and Anti-theatricality." Modern Drama 44, no. 3 (September 2001): 275–83. http://dx.doi.org/10.3138/md.44.3.275.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

Walkowitz, Rebecca. "Conrad's Adaptation: Theatricality and Cosmopolitanism." Modern Drama 44, no. 3 (September 2001): 318–36. http://dx.doi.org/10.3138/md.44.3.318.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

Osipova, O. "«Theatricality» in Ancient Greek historiography." Indo-European linguistics and classical philology XXII (June 7, 2018): 986–92. http://dx.doi.org/10.30842/ielcp230690152270.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Lindahl, Carl. "Chaucerian Theatricality by John Ganim." Studies in the Age of Chaucer 14, no. 1 (1992): 136–40. http://dx.doi.org/10.1353/sac.1992.0017.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Peetz, Julia. "Theatricality as an Interdisciplinary Problem." Performance Research 24, no. 4 (May 19, 2019): 63–67. http://dx.doi.org/10.1080/13528165.2019.1641325.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Landrum, Lisa. "Theory’s Theatricality and Architectural Agency." Architecture and Culture 4, no. 3 (September 2016): 463–75. http://dx.doi.org/10.1080/20507828.2016.1239994.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!