theatrical

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This subject was actually my Guggenheim Fellowship project, "The Theatricalization of American Culture," in 1984.
The trope of listing in Sade is essential in that the Sadean sexual encounter manifests as a listed breakdown of stage directions or crude instructions, which list with limited emotiveness the theatricalization of sexual intercourse.
47 This scholarship has focused on the mutual influence of the two domains, or the theatricalization of ritual and ritualization of drama.
For example, beyond the theatricalization of the accusation and the spectacular punishments, the examples discussed above reveal how homosexuals at large are increasingly submitted to the authoritative and inquisitive power of magistrates and gendarmes.
Jagger's theatricalization and eroticization of his body appear in Gimme Shelter as a staging of white masculinity deliberately responsive to the liberatory fantasies and desires of countercultural youth.
George and Martha's playfulness and showmanship have not escaped them, yet those same critics have never regarded these characteristics as the couple's intentional theatricalization of their marriage to problematize feminine and masculine gender roles, which is the key to the analysis of Martha's character.
In Performance Theory, Richard Schechner describes this process of theatricalization as
Reading Endgame in postcolonial terms has helped to historicize the play's theatricalization of power, however it does not specify the function of disability in maintaining those relations of power.
I aim to illustrate the dance's trajectory from spiritual worship to national apparatus, through changes in cultural policy during the Cuban Revolution of 1959 and the temporal techniques of theatricalization used in the Conjunto Folklorico Nacional de Cuba.
And following this, in turn, there is treatment of a wide range of topics, from public forms of mourning to acting styles on the dramatic stage, or from the theatricalization of parliamentary debate to the staging of long-distance walking contests.
6) Written almost ten years apart, the two texts appear to construct the stylistic paradigm outlined by Panovski and Medenica: the cold theatricalization and postmodern representation of the brutal reality, explicit in Family Stories, contrast sharply with the reconstitution of the narrative and cathartic agencies in Barbelo.
This attitude toward character is a key element of the theatricalization of experience embodied in the Camp sensibility.