What is Theatricality? Is it the essence of theatre, or is it that which distorts, exaggerates and thus undoes theatre? Can performance be both theatrical and\u00a0anti-theatrical? Does anti-theatricality invoke a new kind of theatre? Or is an embrace of theatricality integral to processes of performance? The contributions in this issue ask these and other questions in relation to a wide range of performance examples and possibilities. These include articles on The Wooster Group, Jan Fabre, Marina Abramovi\u0107, Robert Wilson, and Goat Island, as well as reflections on theatricality and skill, sound, grief and violence, and on the politics of theatricality, theatricality and disability and immersive theatricality.<\/p>\n
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On Theatricality<\/strong> Theatricality, Michael Fried and Nineteenth-Century Art and Theatre<\/strong> \u2018Rule Number 1 \u2013 It is Possible that Your Only Nation is Imagination\u2019\u2009: Political\/Historical theatricality of Jan Fabre\u2019s images in Belgian Rules\/Belgium Rules<\/strong> Balancing Acts\u2009: (Meta)theatricality and violence<\/strong> Notes towards a Theatre of Assemblages<\/strong> Theatricality and Absorption\u2009: Politics of representation in Michael Fried, The Wooster Group and Robert Wilson<\/strong> The Force that Sustains\u2009: Theatricality and intermediality in the work of The Wooster Group<\/strong> The Star of the Show\u2009: Trademark, theatricality and \u2018the grandmother of performance art\u2019<\/strong> Theatricality as an Interdisciplinary Problem<\/strong> Theatricality\u2009: A dramatic form of contesting spectatorial codes<\/strong> On the Theatricality of Sign Languages on Stage<\/strong> Ototheatre\u2009: Summoning theatricality<\/strong> SEMESTER\u2009: The labour of attention<\/strong> Theatricalizing a Familial Archive<\/strong> The Theatricality of Grief\u2009: Suspending movement, mourning and meaning with Roland Barthes<\/strong> On Theatricality and the Space Between\u2009: Relationships and the theatre(s) of learning disability<\/strong> Theatrics between Life and Death\u2009: Performing the urban history of Garibong-dong, Seoul in Camp or the Place that Became a Lion by Miwansung Project and OLTA<\/strong> Theatricality and the Construction of \u2018Skill\u2019<\/strong> Grace within the Limits of Theatricality Alone\u2009: The puppet-body in Goat Island and Every house has a door<\/strong> In and Out of the Dark\u2009: Exposing the \u2018immersive\u2019 theatrically<\/strong>
\nAndrew Quick, Richard Rushton<\/p>\n
\nPatricia Smyth<\/p>\n
\nSylvia Solakidi<\/p>\n
\nEmma Willis<\/p>\n
\nSimon Bowes<\/p>\n
\nNik Wakefield<\/p>\n
\nSerap Erincin<\/p>\n
\nBryony White<\/p>\n
\nJulia Peetz<\/p>\n
\nGoran Petrovi\u0107-Lotina<\/p>\n
\nLaura Haughey, Denise Armstrong<\/p>\n
\nLaren R. Beck<\/p>\n
\nKonstantina Georgelou<\/p>\n
\nElizabeth Kurkjian<\/p>\n
\nHarry Robert Wilson<\/p>\n
\nJennifer Goddard<\/p>\n
\nSoo Ryon Yoon<\/p>\n
\nJack Belloli<\/p>\n
\nSwen Steinh\u00e4user<\/p>\n
\nMischa Twitchin<\/p>\n\n\n