Comprehensive Research on the <Theatricality> of Representation in the 20th Century's Art

One of the purposes of our research was to examine the notion of <theatricality>and construct a theoretical model which would enable us to understand synthetically the representation in the 20 th century's art. We may quite well say that the purpose was Fully realized by defining the space of 'Meta-the atre' and forming a model of the receptive space comprising the audience or the receptors especially in the genre of play。以上所有的，似乎是一种伟大的意义，这就是为什么这些理论化的活动突然被重新引入到混凝土游戏中的实际分析中，并重新“在艺术创作的地方”上进行了实验。图片材料也是在实践分析课程中仔细地研究了录像带和图像，在同一时间我们知道，新技术的使用可能性是以原始分析方式传播的，而在基础上，我们并不确定自己去游戏领域，但应用知识通过那些理论活动到艺术的各种空间，这就是音乐、电影，视频艺术、精美的艺术和性能，按顺序展示清楚20世纪艺术的神学要素。在事实上，我们管理的是挑选出一般的、实证的和实用的框架，这些框架是每一种艺术都在共同的，并演示每一种艺术的具体内容。作为一个结果，一<theatricality>个关于语言的问题，与我们形成的理论模型密切相关，新的表面和提供了我们的研究进一步发展的关键。因此，我们可以直截了当地说，我们在我们的研究中实现了一个很好的综合<theatricality>性和相关性研究，从文化作为表示形式的观点来看，我们的研究已经实现了指标。

One of the purposes of our research was to examine the notion of <theatricality> and construct a theoretical model which would enable us to understand synthetically the representation in the 20th century's art. We may quite well say that the purpose was fully realized by defining the space of 'Meta-the atre' and forming a model of the receptive space comprising the audience or the receptors especially in the genre of play. Above all, what seemed to be of a great significance is that these activities of theorization were incidentally fed back to practical analyses in the concrete plays and reーexamined 'on the spot' of art creation. Picture materials were also recorded on videotape and images were carefully studied in the course of practical analyses, and at the same time we got to know that the use of new technology brought about a wider possibility of original ways of analysis.And besides, we didn't confine ourselves to the field of play but applied the knowledge acquired through those theoretical activities to various spheres of art, such as music, film, video art, fine art and performance, in order to show clearly the theatrical essence of the 20th century's art. In fact, we managed to pick out the general, epistemological and practical framework that every kind of art has in common, demonstrating the particularities of each genre. As a result, a problematic sphere of <theatricality> of language, closely related with the theoretical model we formed, has newly surfaced and provided us with the key to further development of our research.Therefore, we can surely say that our research on the <theatricality> achieved indicating a great possibility of comprehensive and correlative study of art from the viewpoint of culture as representation.