Theatricality


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Theatricality

 

(1) A specific artistic quality that is inherent to a work of the theatrical arts and that distinguishes it from other genres of art by a special aesthetic nature and unique means of expression.

(2) The Russian form of the word, teatral’nost’, may be used to mean the distinctive stage language of any given playwright, which determines the entire artistic structure of the play and the manner in which it is performed. For example, one may speak of the teatral’nost’ of Shakespeare, Ostrovskii, or Chekhov.

(3) The undisguised use of theatrical devices; a conscious emphasis on the means of stage expression. Theatricality, typical of all forms of folk theater, became an organic trait of the professional stage. It was used by directors in the early 20th century in their struggle against the philistine bourgeois theater and was a means of bringing the contemporary stage closer to the sources of folk culture. Improvisation, pantomime, the grotesque, masks, and other devices have also been used in the realistic theater of the second half of the 20th century.

REFERENCES

Stanislavsky, K. S. Sobr. soch., vol. 1. Moscow, 1954.
Meyerhold, V. E. Stat’i, pis’ma, rechi, besedy, parts 1–2. Moscow, 1968.
Vstrechis Meierkhol’dom: Sb. vospominanii. Moscow, 1967.
Evg. Vakhtangov: Materialy i stat’i. Moscow, 1959.
Tairov, A. Ia. Zapiski rezhissera: Stat’i, besedy, rechi, pis’ma. Moscow, 1970.
Boiadzhiev, G. N. Teatral’nost’ i pravda. Moscow-Leningrad, 1945.
Berkovskii, N. Ia. “Stanislavsky i estetika teatra.” In his Literatura i teatr. Moscow, 1969.
References in periodicals archive ?
Yet its opponents dismiss performance as hollow and illusory: there is no relationship between theatricality and reality, or between what you pretend to be and what you really are; consequently, Eliza Doolittle's attempts in Lerner and Loewe's version of Pygmalion to behave like a lady leave her bereft, unable to truly join high society or return to her humble roots; meanwhile, Willy Loman's metatheatrical addresses to the audience in Death of a Salesman are perceived as a sign of madness rather than freedom.
characters can freely assert their theatricality on the stage and they
In the first chapter, he deftly weaves together Sugimoto's movie theaters, Cindy Sherman's film stills, and Jeff Walls's Movie Audience, 1979, to argue cogently that these artists were investigating theatricality in cinema in a way that cinema itself cannot.
I've already mentioned child's play as an obvious gap in the text; "play" in the sense of musical performance is also lacking (though related to theatricality, significantly different, as Daniel Deronda would seem to prove).
Because regardless of all our hard work, our modifications and Gilles Desjardins' great screenplay, the theatricality was a bugger to expunge.
Pascoe's interest in romantic theatricality follows in the wake of work by Alan Richardson, Julie Carlson, Jeffrey Cox, Catherine Burroughs and others who have sought to raise the visibility of romantic theater.
Levine's reading of the anti-theatrical treatises leads her to re-evaluate notions of gender and selfhood in the sixteenth century, and to modify the new historicist equation of theatricality with power.
Jean Howard's interrogation of concepts of early modern theatricality in The Stage and Social Struggle in Early Modern England is also influenced, if partially and selectively, by New Historicist criticism.
Ireland shows how "l'esthetique theatrale reprend et transforme la problematique qui a deroute le romancier," but also how the question of theatricality is subsequently reworked in Sartre's prose analyses of what the author calls the "comediens scripteurs," Genet and Flaubert.
Ghostly, some Victorian lives detest relinquishing their theatricality and attest to a faith in self that cannot really be extinguished.
Theatricality in early modern art and architecture.