Theatricality is an essential component for every theater and every play. The fact is that it can sometimes be impossible to depict some phenomena or actions on stage. For example, it refers to large things; it can be challenging to bring a train to a theater. In such cases, directors utilize their creative resources to make the audience believe that a train is indeed on stage and that it is moving. The process of creating and implementing such ideas is known as theatricality. It is different from the cinema where money can help creatives make look real everything they can only imagine. Even though theatricality seems to be a disadvantage in the modern world, this phenomenon has shaped theater as it is now. Since theatricality depicts things figuratively, it motivates the audience to think, which involves them in production.
Moments that are rife with potential for theatricality are present in many plays, and In the Blood is not an exception. The first example appears when Hester is with the doctor, and he “is looking up into her privates”.
Theatricality appears through the corresponding setting, actors’ movements, and a relevant property item. These creative solutions were used to create a situation between a woman and a doctor. The second moment involves a visual symbol when Hester is covering up the Moon for Jabber. Everybody understands that there is no Moon in the theater, and Hester’s actions are an example of theatricality. That situation needs a bridge of innovative solutions to create a feeling that the characters are open to the sky. Thus, these two moments show how it is possible to use creative resources to depict many things on stage.