meaning of theatrical presentation

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theatrical production

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• Academia - The Realities of Theatrical Production: Practical considerations for realization on onstage
• Humanities LibreTexts - Theatrical Production, Chapter 2 “Acting” and Chapter 3 “Directing”
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theatrical production , the planning, rehearsal, and presentation of a work. Such a work is presented to an audience at a particular time and place by live performers, who use either themselves or inanimate figures, such as puppets, as the medium of presentation. A theatrical production can be either dramatic or nondramatic, depending upon the activity presented.

While dramatic productions frequently conform to a written text, it is not the use of such a text but rather the fictional mimetic (from Greek mimēsis , “imitation,” “representation”) nature of the performer’s behaviour that makes a work dramatic. For example, a person walking a tightrope is performing an acrobatic act, whereas a person who pretends to be an acrobat walking a tightrope is performing a dramatic act. Both performers are engaged in theatrical presentation, but only the latter is involved in the creation of dramatic illusion . Though a dramatic performance may include dancing, singing, juggling, acrobatics , or other nondramatic elements, it is concerned mainly with the representation of actual or imagined life.

In nondramatic theatrical productions there is no imitation of “another existence” but simply the entertainment or excitation of the audience by the performer. Whether acrobatic or musical, gestural or vocal, such activity is theatrical because it is presented by a live performer to an audience, but it remains nondramatic so long as it has a purely presentational quality rather than a representational one.

In any single theatrical production, one or another type of activity may so prevail that there is little difficulty in determining the aesthetic nature of the final work. A play by the 19th-century Norwegian dramatist Henrik Ibsen , with its depiction of middle-class behaviour, minimizes nondramatic activity; the recital of a song by the 19th-century Romantic composer Franz Schubert , by contrast, with its emphasis upon musical values, may ignore dramatic elements and, to a considerable extent, even the act of presentation itself. Between these two extremes, however, there are many types of theatrical production in which the aesthetic nature of the form is less simple. Opera, for example, employs both drama and music in shifting patterns of emphasis.

In Europe and the United States several forms arose in the 20th century that combine dramatic and nondramatic material. Vaudeville, or music hall, for instance, employs a succession of various acts, such as fictional sketches, musical and dance numbers, and feats of dexterity , of which some are representational and others are not. In the musical theatre , song and dance serve both to further the narrative and to provide a break from purely dramatic presentation. This variety also characterizes much Asian theatre, in which dramatic moments are elaborated in dance exhibitions. In light of these examples, the definition of what constitutes theatrical production must remain elastic.

For a general discussion of theatre as an art form, as well as a specific treatment of the crafts of acting and directing, see theatre , directing , and acting . The aesthetic dimension of a dramatic production is discussed under stage design . Drama as a literary genre is treated under dramatic literature . Drama or dramatic literature is also treated in numerous other articles, including those on the literature or theatre of a specific country or region, of which the following are examples: Western theatre ; African literature ; American literature ; English literature ; French literature ; German literature ; Greek literature ; Japanese literature ; and Oceanic literature . Other articles that pertain to theatrical production include circus and puppetry .

Elements of theatrical production

According to the British director Peter Brook , theatre occurs whenever someone crosses neutral space and is watched by another person. This definition of theatre raises some problems, such as the difficulty of determining neutral space, but it is useful in its firm commitment to demystifying theatrical production. In former times the idea of the actor as motivated by a desire to create astonishment and wonder was sometimes seen as the basis of all theatre. Certainly there are types of theatrical performance that entail ritual and magic , but theatre is far more frequently rooted in attempts to structure emotion and experience.

Generally speaking, all theatrical productions have certain elements in common: the performer or performers, their acting in space (usually some sort of stage) and time (some limited duration of performance), and a producing process and organization. These elements are treated in separate sections below.

The performer

The work of the actor falls into five main areas: (1) the exhibition of particular physical, including vocal, skills; (2) the exhibition of mimetic skills, in which physical states and activities are simulated; (3) the imaginative exploration of fictitious situations; (4) the exhibition of patterns of human behaviour that are not natural to the actor; and (5) interaction, while engaging in these activities, with other actor-characters and with members of the audience.

At certain times in the history of Western theatre, the highest degree of physical skill has been associated with nondramatic performance. In Asian theatre, however, such distinctions do not apply. Chinese opera and Japanese drama require an actor to play one type of role for his entire professional life. The actor must play this role in a manner strictly determined by tradition, reproducing specific patterns of movement and speech that can be mastered only by first gaining control of complex physical skills. Later, if especially gifted, an actor may bring to a role certain refinements of the tradition, which may be handed down to a succeeding generation.

Western drama, however, does not usually provide the actor with quite so defined a repertoire of movements and utterances. It is true that actors in the Italian commedia dell’arte of the 16th to the 18th centuries specialized in one role and transmitted to their successors a body of situations, speeches, and lazzi (stage sketches, or routines). Nevertheless, they seem to have had more leeway than their Asian counterparts in exercising invention and personal expression. Great rhetorical skill has been demanded of the Western actor, for the intricate metrical patterns of Greek, Latin, French, English, and Spanish drama have been part of the glory of their respective theatres.

Naturalistic theatre, which flowered in the late 19th century, made rhetoric obsolete, requiring the actor to hide virtuoso performing skills by creating the illusion of everyday behaviour. This meant that more weight was given to the actor’s depictions of psychological attributes. The magnetism of a performance derived no longer from stylized behaviour but from intense personal revelation. This requires a marked ability to focus energies, to concentrate intently either upon the audience directly or upon a fellow actor and, thereby, indirectly upon the audience. All good actors can project a concentrated force, or “presence,” which has become increasingly important to the actor as set patterns of playing have disappeared. Presence is not a fixed, definable quality but rather a process of continuous growth and change that takes place before the eyes of the audience .

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What is a Theatrical Performance?

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DAVID OSIPOVICH, What is a Theatrical Performance?, The Journal of Aesthetics and Art Criticism , Volume 64, Issue 4, October 2006, Pages 461–470, https://doi.org/10.1111/j.1540-594X.2006.00224.x

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i . introduction

My aim here is to present a theory of theatrical performance. On my view, a theatrical performance is a particular kind of interaction between performers and observers (actors and audience members) in a shared physical space. A necessary component of this interaction is that the performers pretend that the interaction is something other than what it actually is and that the observers are aware of this pretense. I will proceed by critiquing the dominant view of theatrical performance, namely, that it is primarily an interpretation of a literary work. I will then distinguish theatrical performance from other, similar, art forms, such as film and television. This will allow me to locate the necessary and sufficient conditions of theatrical performance.

Just as Plato famously banished poets from the just city, so Aristotle banished performance from any serious consideration of tragedy. In discussing his six parts of tragedy, Aristotle has this to say about “Spectacle”—the element of tragedy that involves the acting out of the other five parts: “The Spectacle, though an attraction, is the least artistic of all the parts, and has the least to do with the art of poetry. The tragic effect is quite possible without a public performance and actors; and besides, the getting up of the Spectacle is more a matter for the costumier than the poet.” 1 Aristotle's easy dismissal of the performative aspects of tragedy is part of a long tradition that sees theatrical performance as a kind of supplement to the written play. 2 On this view, to perform a play is to form an idea about the meaning of that play and then express this idea on stage. Or, to put the point another way, a theatrical performance is simply an interpretation of a play. Let us call this view the literary theory of theatrical performance.

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Theatrical Style and Form

Theatrecrafts.com > Topics > Stage Management > Theatrical Style and Form

A brief guide to some terms covering theatrical style. 

Naturalism is a movement in European drama and theatre that developed in the late 19th and early 20th centuries. It refers to theatre that attempts to create a perfect illusion of reality through a range of dramatic and theatrical strategies: detailed, three-dimensional settings; everyday speech forms (prose over poetry); a secular world-view (no ghosts, spirits or gods intervening in the human action); an exclusive focus on subjects that are contemporary and indigenous (no exotic, otherworldly or fantastic locales, nor historical or mythic time-periods); an extension of the social range of characters portrayed (away from the aristocrats of classical drama, towards bourgeois and eventually working-class protagonists); and a style of acting that attempts to recreate the impression of reality (often by seeking complete identification with the role, understood in terms of its ‘given circumstances’, which, again, transcribe Darwinian motifs into performance, as advocated by Stanislavski).

Naturalistic writers were influenced by the theory of evolution of Charles Darwin. They believed that one’s heredity and social environment determine one’s character. Whereas realism seeks only to describe subjects as they really are, naturalism also attempts to determine “scientifically” the underlying forces (i.e. the environment or heredity) influencing the actions of its subjects. Naturalistic works are opposed to romanticism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment. They often include uncouth or sordid subject matter; for example, Émile Zola’s works had a frankness about sexuality along with a pervasive pessimism. Naturalistic works exposed the dark harshness of life, including poverty, racism, sex, prejudice, disease, prostitution, and filth. As a result, Naturalistic writers were frequently criticized for being too blunt.

Naturalism was criticized in the twentieth century by a whole host of theatre practitioners; Constantin Stanislavski, for example, argued for a puncturing of the illusion of the surface of reality in order to reach the real forces that determine it beneath its appearance; in place of the absorption within a fiction that Naturalistic performance promotes in its audience, he attempted to inculcate a more detached consideration of the realities and the issues behind them that the play confronts. His approach is a development, however, of the critical project initiated by Naturalism; it is a form of modernist realism.

Naturalistic performance is often unsuitable for the performance of other types of theatre—particularly older forms, but also many twentieth-century non-Naturalistic plays. Shakespearean verse, for example, demands a rigorous attention to its rhythmic sub-structure and often long and complex phrasings; naturalistic actors tend to cut these down to the far shorter speech patterns of modern drama, destroying the rhythmic support that assists the audience’s process of comprehension. In addition, Shakespearean drama assumed a natural, direct and often-renewed contact with the audience on the part of the performer; ‘fourth wall’ performances foreclose these complex layerings of theatrical and dramatic realities the game that are built into Shakespeare’s dramaturgy. A good example is the line spoken by Cleopatra in Antony and Cleopatra’s act five, when she contemplates her humiliation in Rome at the hands of Octavius Caesar, by means of mocking theatrical renditions of her fate: “And I shall see some squeaking Cleopatra boy my greatness in the posture of a whore”; that this was to be spoken by a boy in a dress in a theatre is an integral part of its dramatic meaning—a complexity unavailable to a purely naturalistic treatment.

Émile François Zola

(2 April 1840 – 29 September 1902) A French writer, the most important exemplar of the literary school of naturalism and an important contributor to the development of theatrical naturalism. Naturalism was first advocated explicitly by Émile Zola in his 1882 essay entitled Naturalism in the Theatre .

Naturalistic Plays

• A Bitter Fate –  Aleksey Pisemsky (1859)
• A Doll’s House – Henrik Ibsen (1879)
• The Power of Darkness – Leo Tolstoy (1886)
• The Father – August Strindberg (1887)
• Miss Julie – August Strindberg (1888)
• Creditors – August Strindberg (1889)
• Drayman Henschel – Gerhart Hauptmann (1898)

Expressionism

Expressionism is a modernist movement in drama and theatre that developed in Europe (principally Germany) in the early decades of the 20th century and later in the United States. Anti-realistic in seeing appearance as distorted and the truth lying within man. The outward appearance on stage can be distorted and unrealistic to portray an eternal truth. In Expressionist drama, the speech is heightened, whether expansive and rhapsodic, or clipped and telegraphic.

• Georg Kaiser
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Theatre of the Absurd / Absurdity

Presents a perspective that all human attempts at significance are illogical. Ultimate truth is chaos with little certainty.

A broad concept that sees art, including theatre, as detached from life in a pure way and able to reflect on life critically.

Postmodernism

There are multiple meanings, and meaning is what you create, not what is. This approach often uses other media and breaks accepted conventions and practices.

A type of theatre which relies upon imagination (and therefore limited props) to convey the setting and atmosphere of the play. Classical theatre usually contains lofty, grand prose or free verse dialogue. Good examples are the Elizabethan dramatists William Shakespeare.

Some material from Wikipedia

AGITPROP The original sense of agitprop was "agitation and propaganda on behalf of Communism", or "a government agency or department responsible for agitation and propaganda". The main current sense of the word is simply "propaganda, especially socially or politically motivated propaganda appearing in literary works, films, etc."; though the word often refers to political propaganda, it is not restricted to communist doctrine. The word agitprop is first found in English sources in the mid 1930s. From the Random House Word of the Day website.

BALLAD OPERA A theatrical entertainment popular in early 18th-century England, taking the form of a satirical play interspersed with traditional or operatic songs. The best-known example is John Gay's The Beggar's Opera (1728). [Definition from Oxford Languages, via Google]

BOURGEOIS TRAGEDY Bourgeois tragedy (German: Bürgerliches Trauerspiel) is a form of tragedy that developed in 18th-century Europe. It is a fruit of the enlightenment and the emergence of the bourgeois class and its ideals. It is characterized by the fact that its protagonists are ordinary citizens. Wikipedia entry

BRECHT / BRECHTIAN* TO BE DEFINED

BURLESQUE Adult-orientated entertainment, consisting of dancing, minimal costumes, songs and comic sketches. Popular from the 1840s in Europe and the USA.

COMEDY An entertaining performance designed to make an audience laugh.  In Greek and Roman theatre, any play with a happy ending was called a comedy, regardless of whether it was funny.  Sketch Comedy - a series of short unconnected scenes, with comedic and/or stylised performances, containing jokes, which may be topical and/or satirical.   High Comedy (also known as pure or highbrow comedy) is a type of comedy characterized by witty dialogue, satire, biting humor, or criticism of life. Low Comedy (also known as lowbrow humour) is more physical comedy, using slapstick or farce, with no purpose other than to cause the audience to laugh.  See also SATIRE.

DINNER THEATRE A theatre performance that includes a meal, either at the same venue or at an adjacent restaurant.  Although it was popular in the 1950s in the USA (as Dinner Theater), there are still many venues worldwide where a live performance is accompanied by a meal, usually in a tourist-focussed themed attraction. Examples run daily in Las Vegas or Orlando, Florida, and include murder-mystery themes, medieval themes, or magic shows with dinner served. 

DOCUMENTARY THEATRE Documentary theatre, or theatre of fact, is theatre that wholly or in part uses pre-existing documentary material (such as newspapers, government reports, interviews, etc.) as source material for the script, ideally without altering its wording. Where it's featured solely on the words of others, usually members of the public in a particular situation, it's known as VERBATIM THEATRE.

DUMBSHOW A piece of mimed action. Used in Shakespeare's Hamlet to summarise and comment on the main plot. 

EPIC THEATRE Epic theatre is a theatrical movement arising in the early to mid-20th century from the theories and practice of a number of theatre practitioners who responded to the political climate of the time through the creation of a new political theatre. Epic theatre is not meant to refer to the scale or the scope of the work, but rather to the form that it takes . Epic theatre emphasizes the audience's perspective and reaction to the piece through a variety of techniques that deliberately cause them to individually engage in a different way The purpose of epic theatre is not to encourage an audience to suspend their disbelief, but rather to force them to see their world as it is. (from Wikipedia) Wikipedia entry

EXPRESSIONISM Theatre design and performance style which places greater value on emotion than realism. The trademark Expressionist effects were often achieved through distortion.

FARCE Form of comedy play originated in France, using fast-paced physical action and visual comedy more than humour based on language. In London's West End, following the Second World War, there were farces at the Aldwych Theatre (the Aldwych Farces, particularly those by Ben Travers) and at the Whitehall Theatre (the Whitehall Farces). 

FORUM THEATRE Forum theatre is a type of theatre created by the influential practitioner Augusto Boal as part of what he calls his "Theatre of the Oppressed." While practicing earlier in his career, Boal would apply simultaneous dramaturgy . In this process the actors or audience members could stop a performance, often a short scene in which a character was being oppressed in some way. The audience would suggest different actions for the actors to carry out on-stage in an attempt to change the outcome of what they were seeing. This was an attempt to undo the traditional actor/audience divide and to bring audience members into the performance, to have an input into the dramatic action they were watching.

FUTURISM An artistic and social movement that started in Italy in the early 20th century. In art, it celebrated technologies of the time - air travel, machinery, industrialisation. Futurist ideas helped to form Art Deco, Vorticism, Constructivism, Surrealism, Dada, and much later Neo-Futurism. In theatre, it fought against classical forms of theatre and celebrated the youthful, spontaneous, and satirical, encouraging vaudeville and music hall forms.  Wikipedia entry

GRAND GUIGNOL Shock theatre form originally from Le Grand Guignol theatre in Montmartre, Paris (opened in 1897). Specialised in portraying the macabre & gruesome to the delight and horror of the audience.

IMMERSIVE THEATRE 1) A piece of linear performance where the venue has been adapted / altered to make it part of the narrative of the story. Secret Cinema events are immersive in this sense.  2) A piece of non-linear performance where a non-theatre venue has been completely transformed into a highly detailed world within which the audience is free to roam and see various parts of the story performed in appropriate locations. The UK company Punchdrunk created the concept of audience members wearing masks which allow them to wander around the space anonymously. Punchdrunk Theatre

IN THE ROUND Theatre in the Round is a form of audience seating layout where the acting area is surrounded on all sides by seating. There are often a number of entrances through the seating. Special consideration needs to be given to onstage furniture and scenery as audience sightlines can easily be blocked. Stage managers and directors often use the idea of a clock face to describe actor positions on stage (e.g. the aisle nearest the technical point is described as the 12 O'clock position, with other aisles described as 3, 6 and 9 O'clock.) See also ARENA, THRUST, END ON, TRAVERSE.

INSTALLATION 1) An electrical system in a particular building (e.g. "the stage lighting installation was tested last year") 2) A piece of art designed to transform a particular room or building into something other than a room in an art gallery. Installations often use complex audio-visual equipment and can be intensely immersive experiences. (e.g. "In the studio space this week we have an installation by John Doe entitled 'Space'")

LEGITIMATE THEATRE The term was originally derived from the UK Licencing Act of 1737, which sought to censor and control what theatrical performances were able to say about the government.  In 1660, after the Restoration of Charles II, the previous ban on public entertainments was lifted, and letters patent were granted to Thomas Killigrew and William Davenant to form two theatre companies to perform 'serious drama'. Other theatres were not permitted to perform such serious work, but could put on comedy, pantomime or melodrama.  All performances were licenced by the Examiner of Plays.  The 1843 Theatres Act permitted all theatres to perform 'serious' drama, but censorship and licencing were in place until 1968, when a new Theatres Act was created.  Legitimate theater now refers to theatres that produce 'serious', high-quality professional work rather than variety or burlesque. 

MELODRAMA A Melodrama is a dramatic work that exaggerates plot and/or characters in order to appeal to the emotions. It is usually based around having the same character traits, (for example, a hero , who is fearless and who the audience is rooting for, the heroine , who is usually in peril of some kind, which the hero rescues her from; the villain (usually likes the heroine too) and villain's sidekick (typically gets in the way of or annoys the villain). The term is also used in scholarly and historical musical contexts to refer to dramas of the 18th and 19th centuries in which orchestral music or song was used to accompany the action.

METATHEATRE This term, coined by Lionel Abel, has entered into common critical usage; however, there is still much uncertainty over its proper definition and what dramatic techniques might be included in its scope. Abel described metatheatre as reflecting comedy and tragedy, at the same time, where the audience can laugh at the protagonist while feeling empathetic simultaneously. Wikipedia entry

MIME Form of performance with no spoken words. Plot, character etc. are conveyed to the audience by movement and gesture. From the Greek Mimos . See also Physical Theatre. Marcel Marceau Foundation for the Advancement of the Art of Mime Mummenschanz

MINIMALISM Artistic movement starting in the 1960s which aspired to simple form and design. A minimalist theatrical stage design might involve only the essential compoents of the scene (e.g. a single chair and a suspended window frame, and no other set or furniture).  The ruling mantra is 'Less is More'. It is often best to take away things when the stage picture is not right, rather than adding more - this applies to stage lighting as well as scenic design. 

MORALITY PLAY An allegorical performance in whcih the protagonist is met by personifications of various moral attributes who try to prompt him to choose a godly life over one of evil. Popular in Europe during the 15th and 16th centuries. Wikipedia entry

MUMMERS PLAY A traditional folk play, performed on a makeshift stage in villages aross Britain, performed by amateur actors.  Wikipedia entry

MUSIC HALL A type of British theatrical entertainment popular between 1850 and 1960. It involved a mixture of popular song, comedy, speciality acts and variety entertainment. The term is derived from a type of theatre or venue in which such entertainment took place. British music hall was similar to American vaudeville , featuring rousing songs and comic acts, while in the United Kingdom the term vaudeville referred to more working-class types of entertainment that would have been termed burlesque in America.

MUSICAL THEATRE (From Wikipedia) Musical theatre is a form of theatrical performance that combines songs, spoken dialogue, acting and dance. The story and emotional content of a musical – humor, pathos, love, anger – are communicated through words, music, movement and technical aspects of the entertainment as an integrated whole. Although musical theatre overlaps with other theatrical forms like opera and dance, it may be distinguished by the equal importance given to the music as compared with the dialogue, movement and other elements.  Concept Musical:  a work of musical theatre whose book and score are structured around conveying a theme or message, rather than emphasizing a narrative plot. Examples include Cabaret and Company .  Jukebox Musical:  A stage musical show that has been constructed from pre-released existing songs, usually from one artist or genre.Examples include Bat Out Of Hell, We Will Rock You and Mamma Mia! Megamusical: Similar to a movie Blockbuster, the Megamusical is spectacular and costly, and is designed to reap financial rewards for its' producers. Examples include Hamilton , Wicked , The Lion King etc.  Sung-through / Through-Sung / Through-Composed: A musical where the dialogue is completely sung. Examples include Cats , Hamilton etc.  Abbreviated to MT.

MYSTERY PLAY Also known as a Miracle Play. Traditional since medieval times, the Mystery Play is a re-enactment of bliblical scenes, usually performed outdoors in a small town or village, by the community.  A Passion Play is a cycle of plays that portray the Easter story, specifically. One of the most famous is the Oberammergau Passion Play, performed in the German town in years ending in a zero.   What is a Miracle Play Oberammergau Passion Play

NATURALISM 1) Lighting Design: A naturalistic approach to lighting design requires lanterns to be placed in ways that duplicate where the light would come from in nature. For example, a sunny day outdoor scene would be lit primarily from above the acting area, with fill lighting in from the sides as if from the cloud. A dark room would be lit by moonlight through a window, and the light level would increase when a door is opened from a lit corridor or when a light fitting is turned on. 2) Performance: A naturalistic performance (following the techniques of Stanislavski) requires that the actor completely understands and inhabits every aspect of the characters' life, as well as the motivation and lines that are to be spoken.  3) Scenic Design: The set designer aims to reproduce reality as closely as possible. Heightened Naturalism involves exaggerating the natural elements of the scene for dramatic (or comedic) purposes. 

NOH THEATRE Wikipedia entry

ONE PERSON SHOW An entire performance for a single performer. Also known as One-Man Show or One-Woman Show.  Relies on a strong characterisation and a confident performer. The performer is somes also the writer, but not necessarily.  "Fleabag" is written and performed by Phoebe Waller-Bridge and was very successful at the Edinburgh Fringe and in London.  "Old Herbaceous" is a one-man show performed in an on-stage recreation of a gardeners' potting shed.  There are thousands of other examples.  See also MONOLOGUE and SOLILOQUY.  Fleabag Old Herbaceous

OPERA 1) European terminology meaning Opera House - lavishly decorated proscenium theatre with orchestra pit. See TOSCA. 2) Musical form. Highly dramatic and stylised form where the text is completely sung. See also OPERETTA, OPERA HOUSE.

OPERETTA A short (often humourous) opera with songs (sometimes in an operatic style) and some spoken dialogue.  The most well-known are by Gilbert & Sullivan, some of which were first performed at the Savoy Theatre in London. 

PANTOMIME 1) A pantomime (often shortened to Panto) is a musical-comedy family-orientated theatrical production traditionally performed in United Kingdom, Australia, New Zealand, Canada, Zimbabwe, Jamaica, South Africa, India, Ireland, Gibraltar, and Malta, at Christmas-time. The panto often features slapstick or messy comedy routines, children dancing, recent songs, spectacular sets and colourful costumes, and is often themed around a fairy story or nursery rhymes. Popular pantos include Cinderella, Aladdin, Jack and the Beanstalk, Mother Goose, Sleeping Beauty, Snow White and the Seven Dwarfs, Dick Whittington and His Cat, Puss in Boots etc. There are a number of traditions with panto, including that the baddie / villain must enter stage left, and the goodie / fairy godmother must enter stage right. The colour green is often used for the baddie, and pink for the goodie.   2) Pantomime is an ancient type of performance with no spoken words, often now shortened to 'Mime'.  Puss in Boots, December 2013, Hackney Empire - Audio Slideshow (The Guardian)

PERFORMANCE ART An interdisciplinary performance presented to an audience. The performance may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

PHYSICAL THEATRE Physical theatre is a genre of performance which makes use of the body (as opposed to the spoken word) as the primary means of performance and communication with an audience. In using the body, the performer or actor will concentrate on: The use of body shape and position Facial expressions Rhythmical movement, pace and the energy of the body Gesture Posture Gait Physical theatre can be distinquished from dance in that it tends to focus more on narrative, character and action. However, the boundaries between the two are rather blurred. There are various styles and genre of physical theatre. These include: Physical comedy - where the body is the primary means of comic creation Mime Stomp- where the body, with external objects, is used for its percussive potential Some forms of puppetry Circus The most famous institution devoted to physical theatre is the Lecoq school in Paris. Students here follow the method of Jacques Lecoq, which developed out of his experience of mask work, commedia dell'Arte and his interest in the physicality of performance. Definition from Wikipedia - click for more Lecoq School

PROMENADE Form of staging where the audience moves around the performance space and sees the play at a variety of different locations. See also IMMERSIVE THEATRE.

REVUE A type of performance consisting of lighthearted songs and comic sketches - a variety show.

SINAKULO A retelling of the story of Jesus Christ, performed each year during Holy Week in lowland Philippines. Performed outdoors by and for the community in villages that observe this folk drama tradition. See also MYSTERY PLAYS.

SITCOM Short for Situation Comedy - a Radio or TV show featuring a regular cast of characters who, each episode, find themselves in a different situation, with comic outcomes. There are often storylines or character arcs which continue alongside the weekly situations. Examples are Friends, The Office, Will & Grace, Blackadder, Futurama, Fawlty Towers etc.

SITE-SPECIFIC THEATRE A piece of performance which has been designed to work only in a particular non-theatre space. The space may have been adapted to fit into the themes or style of the production. A site-sensitive (or space-sensitive) piece, on the other hand, will not adapt the space, but work with it's style and history to create a piece of performance. See also PROMENADE, IMMERSIVE THEATRE, INSTALLATION.

SKIT A short (usually) comedic sketch, often satirical or a parody.

SONGSHEET Traditional ending to a British Pantomime performance, usually involving the Dame character encouraging the audience to sing along with a traditional (and/or silly) song that conveniently allows the stage management team to set up the WALKDOWN, a usually spectacular finale to the performance. The lyrics of the song are flown in, in front of the frontcloth. This sequence may also involve announcing any special visitors or audience birthdays, and possibly inviting a couple of children to the stage to take part in the song. 

SPECTACLE A theatrical performance using large scale scenery and effects to wow the audience. Popularised in Victorian times, they featured water tanks, live animals, moving stages and aerial effects.

STASIMON (Greek Tragedy) A stationary song, composed of strophes and antistrophes and performed by the chorus in the orchestra, which ends each Episode. Wikipedia entry

SUMMER STOCK (USA) American term for a theater or organisation that produces work only during the summer, often as part of a festival working with young actors at the start of their career, working as a repertory company, using and adapting existing costumes, props and scenic items. Summer Stock companies operate outside large cities, especially those where commercial theatre is part of the ecosystem. 

THEATRE OF CRUELTY Theatre of Cruelty is a form of theatre originally developed by avant-garde French playwright, essayist, and theorist Henry Becque. Antonin Artaud, some 50 years later, is also seen as a main contributor to the genre, notably with The Theatre and its Double. Originally a member of the surrealist movement, Artaud eventually began to develop his own theatrical theories. The Theatre of Cruelty can be seen as a break from traditional Western theatre and a means by which artists assault the senses of the audience, and allow them to feel the unexpressed emotions of the subconscious. While Artaud was only able to produce one play in his lifetime that reflected the tenets of the Theatre of Cruelty, the works of many theatre artists reflect his theories. These artists include Jean Genet, Jerzy Grotowski, and Peter Brook. (from Wikipedia) Wikipedia entry

THEATRE OF THE ABSURD The Theatre of the Absurd is a post–World War II designation for particular plays of absurdist fiction written by a number of primarily European playwrights in the late 1950s. It is also a term for the style of theatre the plays represent. The plays focus largely on ideas of existentialism and express what happens when human existence lacks meaning or purpose and communication breaks down. The structure of the plays is typically a round shape, with the finishing point the same as the starting point. Logical construction and argument give way to irrational and illogical speech and to the ultimate conclusion—silence. Examples of absurdist plays include Beckett's Waiting for Godot , Jean Genet's The Maids and Stoppard's Rosencrantz and Guildenstern Are Dead .  Wikipedia entry

TRAGEDY Tragedy (from the Greek tragos which means 'goat' and oide which means 'song') is a form of drama based on human suffering that invokes in its audience an accompanying catharsis or pleasure in the viewing. While many cultures have developed forms that provoke this paradoxical response, the term tragedy often refers to a specific tradition of drama that has played a unique and important role historically in the self-definition of Western civilization.

TRAGI-COMEDY / TRAGICOMEDY Tragicomedy is a literary genre that blends aspects of both tragic and comic forms. Most often seen in dramatic literature, the term can variously describe either a tragic play which contains enough comic elements to lighten the overall mood or a serious play with a happy ending.

TRAVERSE Form of staging where the audience is on either side of the acting area. Also known as ALLEY or AVENUE staging.  See also IN THE ROUND, END ON, THRUST.

USITT United States Institute of Theatre Technology. Founded in 1960. Publisher of Theatre Design and Technology and Sightlines journals, which are available online (see Publications in the Theatrecrafts.com Archive section). USITT Website

VAUDEVILLE A type of light-hearted entertainment popular chiefly in the US in the early 20th century, featuring a mixture of speciality acts such as burlesque comedy and song and dance.

VECCHIO Category of stock character from Commedia dell'Arte - consists of the 'old man' characters: Il Dottore (the Doctor), Pantalone, Il Capitano (the Captain). Vecchio is the Italian word for 'old'. 

ZARZUELA A Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operatic and popular song, as well as dance.

Keywords: are theatrical styles forms

Performance vs Recital: When And How Can You Use Each One?

When it comes to music and theater, two terms that are often used interchangeably are performance and recital. However, there are subtle differences between the two that are worth exploring. In this article, we will delve into the nuances of performance vs recital and what they mean in the context of the arts.

We should establish which of the two is the more appropriate term. While both words can be used to describe a musical or theatrical presentation, recital is typically reserved for a solo performance, often by a single musician, whereas performance can refer to a group or individual presentation.

Performance, in the context of music and theater, generally refers to a presentation that is intended for an audience. It can be a live or recorded event, and can involve a range of elements such as music, dance, acting, and more. Performances can take place in a variety of settings, from small intimate venues to large stadiums or theaters. The goal of a performance is to entertain, inspire, and engage the audience.

Recital, on the other hand, is a more specific type of performance that typically involves a solo musician or performer. It is often characterized by a more formal and structured presentation, with the focus on the technical skill and artistry of the performer. Recitals can take place in a variety of settings, from small recital halls to large concert venues, and can feature a range of musical styles and genres.

Now that we have established the definitions of performance and recital, let’s explore the differences between the two and what they mean for performers and audiences alike.

Define Performance

Performance is the act of presenting a piece of music, dance, or theater to an audience. It involves a live presentation of the work, often with the performers interacting with the audience. The purpose of a performance is to entertain, inspire, or educate the audience. Performances can take place in a variety of settings, such as concert halls, theaters, or outdoor venues.

Performances can be solo or group efforts, and can involve a variety of artistic disciplines. Musicians, dancers, actors, and other performers all engage in performance as a way to showcase their skills and talents. Performances can be rehearsed or improvised, and can range from highly choreographed productions to more free-form improvisational pieces.

Define Recital

Recital is a type of performance that focuses on a solo performer or a small group of performers. It typically involves a presentation of a specific repertoire of music, often with a theme or a particular composer in mind. Recitals can take place in a variety of settings, including concert halls, churches, and private homes.

Recitals are often more formal in nature than other types of performances, with a focus on the music rather than on the performer’s interaction with the audience. They are often used as a way for performers to showcase their technical skills and mastery of a particular repertoire. Recitals can also be used as a way to raise funds for charitable organizations or to support the arts.

How To Properly Use The Words In A Sentence

Choosing the right word to use in a sentence can make a significant difference in the meaning and impact of your message. In the world of music, two words that are often used interchangeably are performance and recital. However, these two words have distinct meanings and should be used appropriately to convey the intended message.

How To Use Performance In A Sentence

Performance refers to the act of presenting or executing a musical piece in front of an audience. It can also refer to the quality of the execution. When using performance in a sentence, it is important to consider the context and intended meaning. Here are some examples:

• Her performance at the concert was outstanding.
• The orchestra’s performance of Beethoven’s Symphony No. 9 was breathtaking.
• The pianist’s technical performance was flawless.

As seen in the examples, performance is used to describe the act of presenting music, the quality of the execution, or both.

How To Use Recital In A Sentence

Recital, on the other hand, refers specifically to a performance given by an individual musician or a small group of musicians. It usually involves a program of pieces that are carefully selected and arranged to showcase the performer’s skills and musical tastes. When using recital in a sentence, it is important to be clear about the type of performance being referred to. Here are some examples:

• The pianist gave a recital of Chopin’s works.
• The violinist’s recital was well-received by the audience.
• She prepared for months for her debut recital.

As seen in the examples, recital is used to describe a specific type of performance given by an individual musician or a small group of musicians.

More Examples Of Performance & Recital Used In Sentences

When it comes to understanding the difference between performance and recital, it can be helpful to see these words used in context. Below are some examples of how these words might be used in a sentence:

Examples Of Using Performance In A Sentence

• She gave a stunning performance in the lead role of the play.
• The athlete’s performance in the championship game was truly impressive.
• The band’s performance at the music festival was a highlight of the event.
• He was nervous about his upcoming performance review at work.
• The dancer’s performance was praised for its grace and fluidity.
• The singer’s performance of the national anthem brought tears to many eyes.
• The company’s financial performance has been steadily improving over the past year.
• The actor’s performance in the movie earned him critical acclaim.
• The team’s lackluster performance in the first half of the game was disappointing.
• The pianist’s performance of the challenging piece was flawless.

Examples Of Using Recital In A Sentence

• The young violinist’s recital was a showcase of her impressive talent.
• The poetry recital was well-attended and received rave reviews.
• The dance recital featured a variety of styles and genres.
• The student’s piano recital was a culmination of months of hard work.
• The annual holiday recital at the music school was a festive event.
• The actor’s recital of the monologue was powerful and moving.
• The recital of the company’s mission statement was met with enthusiasm from employees.
• The art gallery hosted a recital of spoken word poetry.
• The recital of the historical facts was informative and engaging.
• The children’s choir recital was a heartwarming display of young talent.

Common Mistakes To Avoid

When it comes to discussing musical performances, it’s important to understand the difference between a recital and a performance. However, many people use these terms interchangeably, which can lead to confusion and miscommunication. Here are some common mistakes to avoid:

Mistake #1: Using “Performance” And “Recital” Interchangeably

One of the most common mistakes people make is using “performance” and “recital” interchangeably. While both terms refer to a musical presentation, they have distinct differences. A performance is a general term that can refer to any type of musical presentation, including concerts, gigs, and even rehearsals. On the other hand, a recital is a specific type of performance that typically features a soloist or a small group of performers. Recitals are often held in a more formal setting and are focused on showcasing the technical and artistic abilities of the performers.

Mistake #2: Assuming All Performances Are Recitals

Another common mistake is assuming that all performances are recitals. As mentioned, a recital is a specific type of performance that has a distinct format and purpose. Not all performances are recitals, and it’s important to understand the difference in order to communicate effectively about musical events.

Mistake #3: Overemphasizing Technique In Recitals

While technique is certainly an important aspect of any musical performance, it’s important to understand that recitals are not solely focused on technical proficiency. Recitals are also an opportunity for performers to showcase their artistry and musical interpretation. Overemphasizing technique can lead to a performance that feels mechanical and lacks emotional depth.

Tips For Avoiding These Mistakes

Here are some tips for avoiding these common mistakes:

• Take the time to understand the difference between a performance and a recital.
• When discussing musical events, be specific about the type of performance you are referring to.
• Remember that recitals are not just about technique – they are an opportunity to showcase artistry and interpretation.

Context Matters

When it comes to choosing between performance and recital, the context in which they are used plays a crucial role. Both of these terms refer to a public presentation of music or dance, but they differ in their purpose and style. Understanding the context in which they are used can help you make an informed decision about which one to choose.

Performance Vs Recital

A performance is a public presentation of music or dance that is meant to entertain and engage the audience. It can take many forms, from a concert to a musical theater production to a dance recital. Performances are often characterized by their high energy, dynamic movement, and interactive nature. They are designed to showcase the performers’ skills and talents in a way that captivates the audience.

A recital, on the other hand, is a public presentation of music or dance that is meant to showcase the performers’ technical skills and abilities. It is typically a solo or small group performance that is focused on precision, accuracy, and control. Recitals are often characterized by their formal setting, subdued lighting, and minimal movement. They are designed to highlight the performers’ mastery of their craft in a way that is both impressive and educational.

The choice between performance and recital can depend on the context in which they are used. For example:

• Concerts: A concert is a type of performance that is typically held in a large venue, such as a stadium or arena. Concerts are often characterized by their high energy and dynamic movement. They are designed to entertain and engage the audience, and performers are often encouraged to interact with the crowd. In this context, a performance would be more appropriate than a recital.
• Schools: A school recital is a type of performance that is typically held in a small auditorium or classroom. Recitals are often characterized by their formal setting and subdued lighting. They are designed to showcase the performers’ technical skills and abilities in a way that is both impressive and educational. In this context, a recital would be more appropriate than a performance.
• Competitions: A competition is a type of performance that is designed to showcase the performers’ skills and abilities in a competitive setting. Competitions are often characterized by their formal setting and strict rules. Performers are judged based on their technical skills, creativity, and stage presence. In this context, both performance and recital could be appropriate, depending on the specific requirements of the competition.

Ultimately, the choice between performance and recital depends on the specific context in which they are used. Understanding the purpose and style of each can help you make an informed decision about which one to choose.

Exceptions To The Rules

While the rules for using performance and recital are generally straightforward, there are some exceptions where they may not apply. Below are some examples:

1. Legal Discourse

In legal discourse, the terms “performance” and “recital” may have different meanings than in everyday language. In this context, “performance” refers to the carrying out of a legal obligation or duty, while “recital” refers to the statement of facts or events that led to the legal action. For example, in a contract, the performance clause would outline the obligations of each party, while the recital clause would provide background information on how the contract came to be.

In music, “performance” and “recital” are often used interchangeably, but there are some distinctions. A performance typically refers to a live or recorded rendition of a musical piece, while a recital is a solo performance by a musician or group of musicians. However, there are exceptions to this rule, such as a “recital” that includes multiple performers or a “performance” that is presented in a recital format.

3. Public Speaking

In public speaking, “performance” and “recital” may have different connotations depending on the context. A performance may refer to a dramatic or theatrical presentation, while a recital may refer to a more formal, rehearsed speech or presentation. However, there may be exceptions to this rule, such as a “performance” that includes elements of a formal speech or a “recital” that includes dramatic or theatrical elements.

4. Literature

In literature, “performance” and “recital” may refer to different aspects of the reading or presentation of a work. A performance may refer to the dramatic or theatrical presentation of a work, while a recital may refer to a more formal, rehearsed reading or presentation. However, there may be exceptions to this rule, such as a “performance” that includes elements of a formal reading or a “recital” that includes dramatic or theatrical elements.

Practice Exercises

In order to improve one’s understanding and use of the terms performance and recital, it is important to practice using them in sentences. Below are some exercises that can help readers do just that:

Exercise 1: Fill In The Blank

Complete the following sentences by filling in the blank with either “performance” or “recital”.

Exercise 2: Identify The Correct Term

Read the following sentences and identify whether “performance” or “recital” is the correct term to use.

• The pianist’s __________ of Chopin’s Nocturne in E-flat Major was stunning.
• She was nervous before her ________ but ended up playing beautifully.
• The school’s annual talent ________ showcased a variety of acts.
• The actor’s ________ in the play was praised by critics.
• performance

By practicing with exercises like these, readers can improve their understanding and use of the terms performance and recital in their writing and speech.

After exploring the differences between performance and recital, it is clear that these terms have distinct meanings in the context of language use. Performance refers to the use of language in a practical setting, while recital is more focused on the memorization and repetition of linguistic structures.

One key takeaway from this article is the importance of understanding the nuances of language use in different contexts. By recognizing the differences between performance and recital, we can better tailor our language use to suit specific situations. Additionally, a deeper understanding of grammar and language structure can help us to communicate more effectively and with greater precision.

As with any area of study, there is always more to learn about language use and grammar. Whether you are a professional writer or simply interested in improving your communication skills, there are many resources available to help you continue learning. By staying curious and committed to improving your language use, you can unlock new levels of clarity and effectiveness in your communication.

Shawn Manaher is the founder and CEO of The Content Authority. He’s one part content manager, one part writing ninja organizer, and two parts leader of top content creators. You don’t even want to know what he calls pancakes.

Look up a word, learn it forever.

Presentation, /prɛzənˈteɪʃɪn/, /prezənˈteɪʃən/.

Other forms: presentations

The noun presentation means the official giving, or presenting, of something. The presentation of diplomas at a graduation ceremony is the part that makes many of the parents in the audience cry.

A presentation can be a ceremony of giving some gift or award, and it can also be a demonstration or show — like a dog training presentation at your local pet store. Another meaning of presentation is a style of displaying something — like the presentation of plants and flowers in the florist's window or the presentation of food on a buffet table. In the 1600s, presentation was commonly used to mean "show or play," as in "a theatrical presentation ."

• noun the activity of formally presenting something (as a prize or reward) “she gave the trophy but he made the presentation ” see more see less type of: ceremony the proper or conventional behavior on some solemn occasion
• noun the act of presenting a proposal see more see less types: first reading the first presentation of a bill in a legislature second reading the second presentation of a bill in a legislature; to approve its general principles (Britain) or to discuss a committee's report and take a vote (US) type of: proposal , proposition the act of making a proposal
• noun the act of making something publicly available; presenting news or other information by broadcasting or printing it “he prepared his presentation carefully in advance” see more see less types: unveiling putting on display for the first time production a presentation for the stage or screen or radio or television staging , theatrical production the production of a drama on the stage type of: display exhibiting openly in public view
• noun formally making a person known to another or to the public synonyms: intro , introduction see more see less types: debut the presentation of a debutante in society reintroduction an act of renewed introduction type of: informing , making known a speech act that conveys information
• noun a show or display; the act of presenting something to sight or view “the presentation of new data” synonyms: demonstration , presentment see more see less types: show 19 types... hide 19 types... exhibition the act of exhibiting exposure presentation to view in an open or public manner performance the act of presenting a play or a piece of music or other entertainment lecture demonstration presentation of an example of what the lecturer is discoursing about counterdemonstration a demonstration held in opposition to another demonstration dramatic performance , dramatic production the act of performing a drama encore an extra or repeated performance; usually given in response to audience demand extemporisation , extemporization , improvisation a performance given extempore without planning or preparation juggle , juggling throwing and catching several objects simultaneously conjuration , conjuring trick , deception , illusion , legerdemain , magic , magic trick , thaumaturgy , trick an illusory feat; considered magical by naive observers musical performance the act of performing music one-night stand a performance in one place on one night only interpretation , rendering , rendition the act of interpreting something as expressed in an artistic performance last hurrah , swan song a final performance or effort (especially before retirement) debunking , repudiation the exposure of falseness or pretensions production (law) the act of exhibiting in a court of law rodeo an exhibition of cowboy skills program , programme a performance (or series of performances) at a public presentation reprise the act of performing a role again type of: show the act of publicly exhibiting or entertaining
• noun a visual representation of something synonyms: display see more see less types: show 5 types... hide 5 types... float an elaborate display mounted on a platform carried by a truck (or pulled by a truck) in a procession or parade Snellen chart display consisting of a printed card with letters and numbers in lines of decreasing size; used to test visual acuity spectacle an elaborate and remarkable display on a lavish scale bullfight , corrida a Spanish or Portuguese or Latin American spectacle; a matador baits and (usually) kills a bull in an arena before many spectators naumachia , naumachy a naval spectacle; a mock sea battle put on by the ancient Romans type of: representation a creation that is a visual or tangible rendering of someone or something
• noun (obstetrics) position of the fetus in the uterus relative to the birth canal “Cesarean sections are sometimes the result of abnormal presentations ” see more see less type of: attitude , position , posture the arrangement of the body and its limbs

Vocabulary lists containing presentation

To improve your fluency in English Language Arts and Reading (ELAR), learn this academic vocabulary list that includes words selected from the Texas Essential Knowledge and Skills (TEKS) state standards.

Vocabulary is key to performing well on Common Core-aligned tests for English Language Arts as well as for building literacy in social studies, science, and technical subjects. This collection features common tier-2 words that are taught and tested in Grades 9 and 10. These words are used in a variety of contexts, exhibit different shades of meaning based on those contexts, and appear commonly in classroom instruction and on standardized assessments. Here are links to our lists for the collection: List 1 , List 2 , List 3 , List 4 , List 5 , List 6 , List 7 , List 8

Vocabulary is key to performing well on Common Core-aligned tests for English Language Arts as well as for building literacy in social studies, science, and technical subjects. This collection features common tier-2 words that are taught and tested in Grade 6. These words are used in a variety of contexts, exhibit different shades of meaning based on those contexts, and appear commonly in classroom instruction and on standardized assessments. Here are links to our lists for the collection: List 1 , List 2 , List 3 , List 4 , List 5 , List 6 , List 7 , List 8

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Meaning of theatrical in English

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theatrical adjective ( PERFORMING ARTS )

• Midnight Society is a theatrical adaptation of Pierre Choderlos de Laclos' 1782 novel , Les Liaisons Dangereuses.
• The movie is scheduled for TV, not a theatrical release .
• The movie won't have a regular theatrical run in Atlanta until May.
• audio described
• audio description
• break a leg idiom
• community theater
• double bill
• non-theatrical
• nondramatic

You can also find related words, phrases, and synonyms in the topics:

theatrical adjective ( BEHAVIOR )

• "She was very theatrical," he said. "She had a wild imagination ."
• You may be accused of being theatrical, but that's better than allowing the moment to pass without comment .
• affectation
• phony-baloney
• ponce about/around
• super-smooth
• talk the talk ... walk the walk idiom

Related words

Theatrical | intermediate english, examples of theatrical, translations of theatrical.

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Synonyms of theatrical

• as in dramatic
• as in operatic
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Thesaurus Definition of theatrical

Synonyms & Similar Words

• melodramatic
• conspicuous
• sensational
• exaggerated
• ostentatious
• pretentious
• self - conscious

Antonyms & Near Antonyms

• unpretentious
• nondramatic
• conservative
• toned (down)
• nontheatrical
• inconspicuous
• underplayed
• dramaturgical
• astonishing
• dramaturgic
• spectacular
• emotionalistic
• overdramatic
• eye - opening
• matter - of - fact
• unspectacular
• unrewarding
• uninspiring
• commonplace
• unsensational
• unexceptional
• unnewsworthy

Synonym Chooser

How is the word theatrical distinct from other similar adjectives?

Some common synonyms of theatrical are dramatic , histrionic , and melodramatic . While all these words mean "having a character or an effect like that of acted plays," theatrical implies a crude appeal through artificiality or exaggeration in gesture or vocal expression.

When would dramatic be a good substitute for theatrical ?

While in some cases nearly identical to theatrical , dramatic applies to situations in life and literature that stir the imagination and emotions deeply.

When might histrionic be a better fit than theatrical ?

The synonyms histrionic and theatrical are sometimes interchangeable, but histrionic applies to tones, gestures, and motions and suggests a deliberate affectation or staginess.

When is it sensible to use melodramatic instead of theatrical ?

In some situations, the words melodramatic and theatrical are roughly equivalent. However, melodramatic suggests an exaggerated emotionalism or an inappropriate theatricalism.

Articles Related to theatrical

7 Words and Phrases Inspired by the...

7 Words and Phrases Inspired by the Theater

Language that lives on after the curtain comes down.

Thesaurus Entries Near theatrical

theaters-in-the-round

theatricals

Cite this Entry

“Theatrical.” Merriam-Webster.com Thesaurus , Merriam-Webster, https://www.merriam-webster.com/thesaurus/theatrical. Accessed 15 Jun. 2024.

More from Merriam-Webster on theatrical

Nglish: Translation of theatrical for Spanish Speakers

Britannica English: Translation of theatrical for Arabic Speakers

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6 Secrets From the Theater (That Anyone Can Use) For Giving Great Presentations

September 11, 2017 By Cathy Salit Comments are Off

Unless you’re a regular on the  TED Talk  stage, chances are you could improve your presentation performance.

If you need motivation, look no further than billionaire  Warren Buffett , who says that learning to speak in public will increase your earning power by 50 percent. And there’s no shortage of advice on how to do it, from learning “ the rules ” to tapping into  neuroscience .

As a lifelong stage performer who is also a CEO, author, executive coach, and public speaker, I’ve learned that some of the most important tools for turning all that motivation and advice into effective presentations come from the theatrical side of my background.

So here are my top six ways to harness the tools of the theater to make your next presentation a performance to remember.

1. It’s a monologue, not a soliloquy. In a play, when a character speaks for an extended period of time, it’s either a monologue or a soliloquy. As a presenter, you’re speaking for an extended period of time — and it better not be a soliloquy.

A soliloquy is a character talking to him or herself (think Hamlet intoning “ To be or not to be… ” and then rambling on about death and vengeance for the next 15 minutes). But a monologue is part of the dialogue of the play. It might be to another character, or to the audience, but it’s always a conversation.

As a presenter, don’t talk to yourself — talk to us.

2. Start in the middle. Movies and plays draw us in by starting in the midst of the action and so should you. Skip the long introduction and instead make a bold assertion.

I once asked a financial controller what she wanted her audience to take away from her quarterly results report. “Well,” she said, “we had a surprisingly good quarter.”

I told her to say that first, with no preamble. She tried it, and her audience of fellow workshop participants leaned in. They later reported that they were intrigued, curious, maybe even a little provoked — but they were paying attention.

3. Rehearse more than you think you need. On average, the cast of a play rehearses for more than a month before opening night. You don’t need to go that far, but thorough preparation is one of the most important factors in giving you confidence in front of an audience.

Speak your presentation out loud, a dozen times or more. Use your slides when you practice. This allows you to stop thinking about what comes next and instead focus on connecting with your audience.

4. Talk to people, not “the audience.” Speaking of the audience, remember the late Charlton Heston’s immortal words in  Soylent Green : “ It’s made of people! ” In your case, I’m not suggesting that you eat them, but, please —  talk to them.

Instead of looking at the audience as a mass, focus on individuals. Speak directly to them, one after another. Watch their reactions — did somebody nod? Great! Move on to someone else. Do they look perplexed? Maybe you should slow down.

Let your audience help you create your performance, as you move through it together.

5. Don’t compete with yourself. There’s a saying in theater: “Find your light.” It means that moving to the spot(s) onstage in which you’re best illuminated makes it easy for the audience to see you. As a presenter, you can do this too, and not just with lighting.

You can make a range of choices that have a big impact on how you come across. Where do you stand — behind a lectern or closer to the audience? How do you relate to your slides — do you try to read from them, and turn around to face away from the audience (please don’t!).

Speaking of slides: Your slides should not be saying what you’re saying. If they are, the audience will watch them and not you. Instead, let them illustrate and augment what you’re saying, with images or summary headlines.

6. Make deliberate choices. When legendary acting teacher  Sanford Meisner  directed students in class, his constant question was “What are you  doing ?” What he meant was that as you work your way through a scene, you have to make deliberate choices about why and how you’re doing what you’re doing at any given moment.

For example, wandering or pacing around the stage (in the theater or in a presentation) looks aimless and distracting. But  choosing  to cross the stage (for example, to come closer to another part of the audience) looks confident and conveys command of the space.

Being conscious, prepared, and owning your performance in this way will give you a huge surge in confidence — and a much better presentation.

Originally published on  Inc.com .

Cathy Salit is a performer and a founder of Performance of a Lifetime. Her book,  Performance Breakthrough: A Radical Approach to Success at Work  (Hachette Books) is on sale everywhere books are sold.

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