Doktorarbeit / Dissertation, 1998
494 Seiten
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Pageantry moved from Victorian literalism to the "New Stagecraft" and cinematic realism. In the 1950s, university-educated directors began harnessing spectacle to serve specific interpretive visions.
It refers to the capacity for analogical thinking that Shakespeare's original audiences possessed, allowing them to understand complex spectacles as symbols rather than just literal images.
In times of social flux, pageantry provides a stable vocabulary to examine monarchal power and the ritual basis of the human condition through visual emblems.
Pictorial pageantry refers to the highly visual, often lavish staging styles that remained resilient in theatre history despite being criticized by modernist movements.
It is the practice of using theatrical spectacle to comment on the nature of theatre itself and to reach a deeper understanding of visual emblems in modern society.
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