dramaticity en · NOUN
Etymology
Etymology tree Ancient Greek δράω (dráō) Proto-Indo-European *-mn̥ Proto-Hellenic *-mə Ancient Greek -μᾰ (-mă) Ancient Greek δρᾶμα (drâma) Proto-Indo-European *-tis Proto-Hellenic *-tis Ancient Greek -τῐς (-tĭs) Ancient Greek -σῐς (-sĭs) Proto-Indo-European *-kos Proto-Hellenic *-kos Ancient Greek -κός (-kós) ? Proto-Indo-European *-tós Proto-Hellenic *-tós Ancient Greek -τος (-tos) ▲ Ancient Greek -κός (-kós) ? Ancient Greek -τικός (-tikós) Ancient Greek δρᾱμᾰτῐκός (drāmătĭkós)bor. Latin drāmaticuslbor. English dramatic Proto-Indo-European *-teh₂ Proto-Indo-European *-ts Proto-Indo-European *-teh₂ts Latin -itāsder. Old French -itebor. Middle English -ite English -ity English dramaticity From dramatic + -ity.
Meanings
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(uncountable) The quality of being dramatic.
But Fra Filippo was too fine a psychologist not to understand that in a similar theme the manifestation of grief was absolutely essential; he therefore had recourse to an ingenious stratagem, introducing in his composition the two female mourners, in whose features he sought to condense, so to say, all the emotion and dramaticity which he was debarred from expressing through the medium of his portrait figures.
1901, Edward C. Strutt, “Prato”, in Fra Filippo Lippi, London: George Bell and Sons, page 145:“You must blame me for that: as stage manager, with an eye to dramatic effect, I forbade it,” said the doctor; “though one might as well expect heat from an iceberg as extract a spark of—of dramaticity from either of you.”
1890 April 1, Owen Graham, “The Mark of Cain”, in William Freeman, editor, Zealandia: A Monthly Magazine of New Zealand Literature, by New Zealand Authors, volume I, number 10, part IX (No Such Thing as Chance), section XXXIII, page 598:Theatricality and dramaticity are indivisible in Western dramaturgy, and they are also what enable the comparison and confrontation between European forms and cultural performances and performance practices from the rest of the world.
2013, Patrice Pavis, “On the frontiers of mise en scène”, in Joel Anderson, transl., Contemporary Mise en Scène: Staging Theatre Today, London; New York, N.Y.: Routledge, →ISBN, page 30:Obviously, in these three types of dramaticity, the parties use narratives involving national identity by invoking the cultural icons most favorable for legitimizing their interests.
2002, Hernán Vidal, “Afterword: The Geopolitics of “Latino” Theater in the United States (Schemata of Possible Criteria for a Theatrical Anthropology)”, in Juli A. Kroll, transl., edited by Luis A. Ramos-García, The State of Latino Theater in the United States (Hispanic Issues; volume 29), New York, N.Y.; London: Routledge, →ISBN, page 202: