untheatrical


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Adj.1.untheatrical - not suited to or characteristic of the stage or theateruntheatrical - not suited to or characteristic of the stage or theater; "a well-written but untheatrical play"; "an untheatrical personality"
theatrical - suited to or characteristic of the stage or theater; "a theatrical pose"; "one of the most theatrical figures in public life"
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The performance is both self-conscious and social, even theatrical, however untheatrical its circumstances, illustrating Marvin Carlson's contention that "The difference between doing and performing .
Despite their promise, theater-making games struggle to enskill successfully their users in the experience of theater, and I argue that this is because of an incompatibility between the bodily mechanics of theater-making the games represent and their own game-play mechanics, which call for largely untheatrical gestures such as pushing buttons, flipping cards, moving counters, and so forth.
36) It is important to stress that Alithea is not an untheatrical figure in opposition to the "masked" Lady Fidgets and Horners of her world: there is no meaning in the fallen world that is not theatrical.
It had these people wandering around, eating sandwiches and talking like ordinary people in a way that was completely untheatrical.
As a matter of fact, many of his plays were written in the Soviet period, but they were "discovered" by the theatres only in 1990s--before, they were largely regarded as technically unstageable and untheatrical.
And in a pared-down production that may be a little untheatrical for some tastes, Jones also obliges by illustrating this moment of illumination with a magnificent scenic coup that allows us to share directly in the joy and fulfillment Nevelson derived from her work.
His songs were curiosities, but even they were stunningly untheatrical.
Medium height, grey hair beneath a greyish wig, white shirt and collar, black gown, Caplan is a straightforward, untheatrical speaker.
There is sometimes an oddly untheatrical sense of performance history here, one that seems to treat modern productions as adaptive and Elizabethan productions as somehow less so.
He employs Brechtian alienation devices (house lights up, untheatrical cast entrances, direct addresses to the audience) in order to implicate and politicise his audience: "the animals there .