From masked balls, slaughtered guests, and cannibal banquets to resident aliens, exotic sojourners, and heavenly hosts, hospitality gathers together a diverse yet coherent repertoire of narrative scenarios, physical routines, and
Because of this primary conjunction of vitality, welcoming, and performance, scenes of accommodation and conviviality and their refusal or violation abound in the mythic situations of dramatic literature.
What might hospitality have to do with theatricality? What do they share, and what does each render visible in the other? h e rituals of hospitality incubate the theatricality incipient in all human exchange, and do so in a manner that remains close to bodily wants and the comportments and technologies that accompany them: in hospitality events, life manifests itself as theatre. Finally, theatricality names a gestural mode that can travel far from formal performance spaces, enlivening (or contaminating) everything from political speech and social exchanges to dress codes, gender norms, and teaching styles. 2 h eatricality is ai liated with non-linguistic elements of performance such as lighting, sound, and props yet the sui x-ality also implies a rel exive fold and self-distilling movement that sublimates stage crat into consciousness and towards language.
For this reason, Bert States identii ed theatre as 'a place of disclosure, not a place of reference', 1 a n d Samuel Weber insists that theatricality 'does not merely " reproduce " and yet also does not simply " create " '. ' h eatricality' usually designates a phenomenon distinct from drama and its humanist spaces and institutions, while also capturing an essential feature of dramatic art, namely its appearing, its phenomenal passage into a special kind of space that is brought into being by the fact and act of that transit.
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