theatricality


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Most extends the struggle between the two versions of Jacob as a struggle between theatricality and authenticity that then becomes a philosophical motif throughout the book: proponents of theatrical liberalism believe that there is integrity in performance and by extension, external acts can effect internal change.
However, there is a deeper sense of theatricality that should be
Overall, Theaters of Justice is a well-written, thoroughly researched, and fascinating investigation of the theatricality of literature and the law.
In the end, The Theatricality of Robert Lepage does not give us much information that we didn't already have, even in English where the scholarly literature is somewhat less extensive than that in French.
According to this claim, because the photographic tableau emerges in the wake of Minimalism and of new concerns about voyeurism and the inherently contaminating effects of beholding, it must acknowledge what Fried terms "to-be-seenness" even as it must continue to resist theatricality.
Franklin's analysis is most convincing, I believe, in his central chapter on theatricality and anti-theatricality in Victorian novels.
Whether or not Favreau was entirely successful in avoiding the pitfall of theatricality remains, nonetheless, debatable.
Though much literary history has swept aside the theatricality of this period with demands for sincerity, spontaneity, and authentic feeling, Pascoe finds that the development of a romantic aesthetic cannot be dissociated from this rejected alternative.
In Antony and Cleopatra, for example, Shakespeare exposes the hypocrisy of Caesar, the arch anti-theatricalist in the play, and his enjoyment of the very theatricality he condemns.
Arguably, however, Richard Wilson relies too heavily on another paradigm associated with New Historicism, namely that theatricality is one of power's essential modes.
Not only is Sartre's concrete relationship to the theater revealing (the plays he accepts and those he rejects, his attitudes toward production and performance, et cetera), and not only do his dramatic works often display a conflictual relationship between theatricality and engagement (Ireland analyzes more obscure works such as Bariona and Kean as well as the more celebrated plays), but the theater structurally embodies a problematic relationship to action, one which resonates with paradoxes intrinsic to Sartre's theory of freedom.
The theatricality of all three is self evident but takes on new dimensions in Auerbach's analysis.