Bibliographic record
Abstract
Though theatricality as a concept has been extensively and variously theorized vis-a-vis live theatre through the sharing of space (see Cole 1975; Davis and Postlewait 2003; Davis and Postlewait 2003; Petrović-Lotina 2019; Shank 1969), through the rejection of the quotidian (Durang 1999; Heim 2020; White 2019), and through heightened expression (Carlson 1990; Peterson 2023; Smith 1984); many of its core tenets have recently been challenged through the rising prominence of virtual theatre. In this paper, I explore various theories of and about theatre to redefine “theatricality” as a term in its application to virtual (music) theatre. Additionally, I investigate how Rise, Shine, Sing!, a weekly, online participatory community music theatre project, reconfigures the demands for its participants to assume the unique role of spectator-performer, thus redefining the terms of engaging with and through theatricality in this medium. My interest in redefining theatricality in virtual contexts is motivated by the (post) pandemic impulse to prioritize audience safety in line with public health measures to protect those who are at risk, whether for reasons of age, ability, or health status. Because virtual theatre is therefore now a matter of access, theatricality is in a position to be (re)defined. I explore this in three ways: through further theorizing around the suspension of disbelief–a departure from the quotidian space that defines our daily living–which characterizes theatricality (see Causey 2006; Féral 2002; MacDonald 2013); through theatre’s reconfiguration of the social world’s constructivity to develop new iconography in gesture; and through a renegotiation of the opportunities for heightened experience on the part of the performer-spectator.
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.005 | 0.014 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.001 | 0.001 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.009 | 0.018 |
| Scholarly communication | 0.010 | 0.008 |
| Open science | 0.003 | 0.014 |
| Research integrity | 0.005 | 0.011 |
| Insufficient payload (model declined to judge) | 0.046 | 0.011 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".