Mar 13, 2025
GLEE S01E20 Theatricality
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GLEE S01E20 Theatricality
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I love this callback to A House Is Not A Home in Theatricality, where Finn answers Kurt. He recognizes the loneliness Kurt had been feeling ("Well I'm not meant to live alone, turn this house into a home // When I climb the stair and turn the key, oh, please be there" "You say you feel so empty, that our house just ain't a home // I'm always somewhere else and you're always there alone"), and promises that despite what happened between them, Kurt can trust him and he'll be there for him ("Just a few more hours and I'll be right home to you").
While he was initially a little freaked out by it, A House Is Not A Home is a song that really spoke to Finn, so much that he sang it himself to his dad’s chair. The song had helped Finn realize his father is more than just the things he and his mom own, and so I think it’s extra sweet and more heartfelt that Finn would want to respond back to a song that meant something to him, hoping this would mean just as much to Kurt.
Bad Romance-Glee Live 2010
Flashback to the Glee Tour 2010 when they put Amber's solo, Bust Your Windows, right after Bad Romance, too fast for a quick change, so Harry was pulled in to dance in her place, and they put him in a version of the red lace Alexander McQueen number Lady Gaga wore to the 2009 VMAs. But a danceable version without the full lace veil, etc.
Quinn's Dot Dress (1x20)
Juicy Couture Dot Embroidered Cotton Dress in White
The Ultimate Episode Tournament: Round 3 Match 12
Born This Way (2x18) vs Theatricality (1x20)
Born This Way (2x18)
Theatricality (1x20)
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I always think about the architecture of what we have in this film and the ontology of Barbie [in relation to] what I love so much about Shakespeare's comedies. Stay with me. I'm not saying I'm Shakespeare. But I do think Shakespeare was a maximalist. There wasn't anything that was too far or too crazy that couldn't be worked through, and then there'd be something in the middle that felt quite human. I was thinking about it in those terms: a heightened theatricality that allows you to deal with big ideas in the midst of anarchic play.
-Greta Gerwig
Although we can associate theatricality with both Augustus and Nero, I would argue that performativity as it is defined by Judith Butler is an Augustan phenomenon. As Butler states: “Performativity must be understood not as a singular or deliberate ‘act,’ but, rather, as the reiterative and citational practice by which discourse produces the effects that it names." In other words, the performance gains its authority not in and of itself but by its appeal to––and repetition of––precedents that are often nothing more than “sanctioned fantasies, sanctioned imaginaries…elevated as the parameters of realness.”[1] Citationality, then, becomes the locus of authority most often found in “an irrecoverable past.” Whether or not that past existed in any real sense is irrelevant and thus can be created in the present to then cite as law.
The connection between Augustus and performativity can be seen most clearly in the Res Gestae Divi Augusti in which Augustus normalizes his past actions––many of which were untraditional or even illegal––by rewriting them as being exempla of traditional Roman moral conduct. The end result of the Res Gestae, as Melanie Racette-Campbell argues, is that Augustus becomes the definitive model of moral character through an act of citationality that is a ruse, “a dissimulation whereby the prior authority proves to be derived from the contemporary instance of its citation.”
[1] Butler 1993, 89. Cf. 171: “Importantly…there is no power, construed as a subject, that acts, but only, to repeat an earlier phrase, a reiterated acting that is power in its persistence and instability. This is less an ‘act,’ singular and deliberative, than a nexus of power and discourse that repeats or mimes the discursive gestures of power.”