Andrew Quick is Professor of Theatre and Performance at Lancaster University Richard Rushton is Professor in Film Studies at Lancaster University

In keeping with their previous work – both academic and artistic – Quick and Rushton have drawn together a timely and provocative collection on theatricality. One that with finesse, elegance and transparency draws attention both to the complexity of theatricality as its well to as its contemporary resonances in different media and genres. The collection signals a welcome shift back to the aesthetic, which, of course, is something that is rooted in the very construction of the social, as indeed all the diverse contributions in the collection are keen to stress. I highly recommend it to anyone working in the cultural field who is interested in how representation works and what it can do.

• Introduction - Andrew Quick and Richard RushtonPart 1: MultimediaChapter 1. Staging Night Watch. Theatricality and Scenes of Crime in Peter Greenaway’s Screen Adaption of Rembrandt’s Painting’ - Kati RöttgerChapter 2. Theatricalizing Absorption and Networked Hyper-Theatricality - Lisa ÅkervallChapter 3. Theatricality and Dissonance: Frictions in Contemporary Networked Performance Practices - Jane Frances DunlopChapter 4. Metatheatricality, Hypermediacy and Theatricality in the Making of Never Swim Alone - Lowell GasoiPart 2: PhilosophyChapter 5. Display in Human Art and the Aesthetic Lives of Animals: A Rationalist Critique of Evolutionary Aesthetics - Mathew AbbottChapter 6. Against Experience: Theatre is Not Life (Or Theatre in the Age of Third Nature) - Simon JonesChapter 7. Theatre Against Itself: Performance, Politics and the Limits of Theatricality - Adrian KearPart 3: Art/Theatre/Photography/SoundChapter 8. Between Lies and Truth Lies the Truth: Staged Mythologies in Damien Hirst’s Treasures from the Wreck of the Unbelievable - Paula BlairChapter 9. Owning the (Female) Experience: Theatricality, Writing and Translation in Literature, Theatre and Cinema -Agneszkia PiotrowskaChapter 10. Performance, Photography, Theatricality and Citationality: Theatricality as a Mode of Performing Citation in the Still Photographic Image - Allan S. TaylorChapter 11. Music, Miles Davis and Theatricality - Nicholas Gebhardt and Richard RushtonPart 4: Theatre and CinemaChapter 12. Metaphoric Theatricality: Theatricality as a Weapon of Resistance: The Production of Our Grand Circus in 1973 Greece - Michaela AntoniouChapter 13. Theatricalising Sci-fi: Theatre and the Multiverse in Mouse: The Persistence of an Unlikely Thought (Daniel Kitson, 2016) and Constellations (Nick Payne, 2012) - Anna WilsonChapter 14. The Interconnectedness between Melodrama and Theatricality in Pedro Almódovar’s The Skin I live in (2011) and Nelson Rodrigues’ Woman without Sin (1941) - Isadora GrevanChapter 15. Popular Theatricality in Spike Lee - Angelos KoutsourakisBibliography Index

Andrew Quick is Professor of Theatre and Performance at Lancaster University Richard Rushton is Professor in Film Studies at Lancaster University

In keeping with their previous work – both academic and artistic – Quick and Rushton have drawn together a timely and provocative collection on theatricality. One that with finesse, elegance and transparency draws attention both to the complexity of theatricality as its well to as its contemporary resonances in different media and genres. The collection signals a welcome shift back to the aesthetic, which, of course, is something that is rooted in the very construction of the social, as indeed all the diverse contributions in the collection are keen to stress. I highly recommend it to anyone working in the cultural field who is interested in how representation works and what it can do.

• Introduction - Andrew Quick and Richard RushtonPart 1: MultimediaChapter 1. Staging Night Watch. Theatricality and Scenes of Crime in Peter Greenaway’s Screen Adaption of Rembrandt’s Painting’ - Kati RöttgerChapter 2. Theatricalizing Absorption and Networked Hyper-Theatricality - Lisa ÅkervallChapter 3. Theatricality and Dissonance: Frictions in Contemporary Networked Performance Practices - Jane Frances DunlopChapter 4. Metatheatricality, Hypermediacy and Theatricality in the Making of Never Swim Alone - Lowell GasoiPart 2: PhilosophyChapter 5. Display in Human Art and the Aesthetic Lives of Animals: A Rationalist Critique of Evolutionary Aesthetics - Mathew AbbottChapter 6. Against Experience: Theatre is Not Life (Or Theatre in the Age of Third Nature) - Simon JonesChapter 7. Theatre Against Itself: Performance, Politics and the Limits of Theatricality - Adrian KearPart 3: Art/Theatre/Photography/SoundChapter 8. Between Lies and Truth Lies the Truth: Staged Mythologies in Damien Hirst’s Treasures from the Wreck of the Unbelievable - Paula BlairChapter 9. Owning the (Female) Experience: Theatricality, Writing and Translation in Literature, Theatre and Cinema -Agneszkia PiotrowskaChapter 10. Performance, Photography, Theatricality and Citationality: Theatricality as a Mode of Performing Citation in the Still Photographic Image - Allan S. TaylorChapter 11. Music, Miles Davis and Theatricality - Nicholas Gebhardt and Richard RushtonPart 4: Theatre and CinemaChapter 12. Metaphoric Theatricality: Theatricality as a Weapon of Resistance: The Production of Our Grand Circus in 1973 Greece - Michaela AntoniouChapter 13. Theatricalising Sci-fi: Theatre and the Multiverse in Mouse: The Persistence of an Unlikely Thought (Daniel Kitson, 2016) and Constellations (Nick Payne, 2012) - Anna WilsonChapter 14. The Interconnectedness between Melodrama and Theatricality in Pedro Almódovar’s The Skin I live in (2011) and Nelson Rodrigues’ Woman without Sin (1941) - Isadora GrevanChapter 15. Popular Theatricality in Spike Lee - Angelos KoutsourakisBibliography Index

Andrew Quick is Professor of Theatre and Performance at Lancaster University Richard Rushton is Professor in Film Studies at Lancaster University

In keeping with their previous work – both academic and artistic – Quick and Rushton have drawn together a timely and provocative collection on theatricality. One that with finesse, elegance and transparency draws attention both to the complexity of theatricality as its well to as its contemporary resonances in different media and genres. The collection signals a welcome shift back to the aesthetic, which, of course, is something that is rooted in the very construction of the social, as indeed all the diverse contributions in the collection are keen to stress. I highly recommend it to anyone working in the cultural field who is interested in how representation works and what it can do.

• Introduction - Andrew Quick and Richard RushtonPart 1: MultimediaChapter 1. Staging Night Watch. Theatricality and Scenes of Crime in Peter Greenaway’s Screen Adaption of Rembrandt’s Painting’ - Kati RöttgerChapter 2. Theatricalizing Absorption and Networked Hyper-Theatricality - Lisa ÅkervallChapter 3. Theatricality and Dissonance: Frictions in Contemporary Networked Performance Practices - Jane Frances DunlopChapter 4. Metatheatricality, Hypermediacy and Theatricality in the Making of Never Swim Alone - Lowell GasoiPart 2: PhilosophyChapter 5. Display in Human Art and the Aesthetic Lives of Animals: A Rationalist Critique of Evolutionary Aesthetics - Mathew AbbottChapter 6. Against Experience: Theatre is Not Life (Or Theatre in the Age of Third Nature) - Simon JonesChapter 7. Theatre Against Itself: Performance, Politics and the Limits of Theatricality - Adrian KearPart 3: Art/Theatre/Photography/SoundChapter 8. Between Lies and Truth Lies the Truth: Staged Mythologies in Damien Hirst’s Treasures from the Wreck of the Unbelievable - Paula BlairChapter 9. Owning the (Female) Experience: Theatricality, Writing and Translation in Literature, Theatre and Cinema -Agneszkia PiotrowskaChapter 10. Performance, Photography, Theatricality and Citationality: Theatricality as a Mode of Performing Citation in the Still Photographic Image - Allan S. TaylorChapter 11. Music, Miles Davis and Theatricality - Nicholas Gebhardt and Richard RushtonPart 4: Theatre and CinemaChapter 12. Metaphoric Theatricality: Theatricality as a Weapon of Resistance: The Production of Our Grand Circus in 1973 Greece - Michaela AntoniouChapter 13. Theatricalising Sci-fi: Theatre and the Multiverse in Mouse: The Persistence of an Unlikely Thought (Daniel Kitson, 2016) and Constellations (Nick Payne, 2012) - Anna WilsonChapter 14. The Interconnectedness between Melodrama and Theatricality in Pedro Almódovar’s The Skin I live in (2011) and Nelson Rodrigues’ Woman without Sin (1941) - Isadora GrevanChapter 15. Popular Theatricality in Spike Lee - Angelos KoutsourakisBibliography Index