THEATRICALITY IN MODERN PERFORMANCE

Abstract

In recent years, the idea of theatricality has taken centre stage in studies of theatre and performance. It is necessary to distinguish theatre from a number of other creative forms, such as multimedia, performance, and dance, in order to define the term. We must contrast the character of theatre with other forms of art. Over the course of the 20th century, the theatre's fundamentals underwent a dramatic upheaval. In light of the development of new media, academics reevaluate theatrical aesthetics that were established at the end of the 19th century. Additionally, modern theatrical practice gave the text a new location and started to separate it from the theatrical activity.

The word "contemporary performance" in this context refers to an aesthetic history that begins in the 1880s with early Dada experiments and Alfred Jarry and continues through the American avant-garde movement. Currently, the phrase is used to refer to hybrid performances and artists who move freely between the genres of experimental theatre, video art, multimedia, and performance art without conforming to the practices of any one particular field. As contemporary performance continues to take on new shapes and subgenres, it necessitates a language that is more and more varied. According to Artaud, the limitations imposed by the linguistic model are what make it difficult to theoretically explain the physical language of the theatre.

This essay looks into how modern theatricality should be defined, the impact it has on audience' perceptions across genres, thec ontemporary performance concepts, as well as the connections between' live performance; concert, music videos and its mediation.