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Architectonics of Theatricality
Theatre Performance in a Semiotic Perspective
Ivaylo Alexandroff
The cultural discourse of theatrical performance defines the theatre sign interaction as an active
semiosis. This, in turn, specifies the main objective of the study – the formulation of the basic parameters of this
architectonics as a fundament of
théâtralité. Since the time of Antiquity the theatre has always been discussing general aesthetic, philosophical, ethical and social issues in the context of a visual image of the specific objects of an intellectual discourse. The book takes a close look at this process of signification, formation of meanings, presentation and interpretation on stage: a theatre performance is a product of an intense sign environment and a major symbol of theatricality.
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- 978-3-653-96105-8
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- Frankfurt am Main, Berlin, Bern, Bruxelles, New York, Oxford, Wien, 2015. 173 pp.
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- Cover
- Title
- Copyright
- About the author
- About the book
- This eBook can be cited
- Contents
- Acknowledgments
- Preface - Theatre of the Day Before (Text, Game, Semiotic Perspective)
- Preface - By The Author
- Introduction: Notes on the Semiotic Nature of Théâtralité
- Part I: Theatricality and Semioticality
- Signs and Sign Configurations - the Space of the Performance as a Signifier
- Semantics of interpretation - the stage figure in the context of performance
- Theatre communication and theatrical codes – aesthetic sign convention and spectator perception
- Reflection of dominance - the sign as absence/presence
- Linguistic and paralinguistic interaction: symbolic transmission, representation, and active convention
- Part II: Performance and Signification
- The performance as a theatrical text - morphology of stage signification
- Actors in the stage space - semantics of interpretation
- Semiotics of the stage – I in the stage space
- Mise-en-scéne – The Representative Convention of Performance
- Phenomenology of the Game-of-Lies - the Incorporation of Theatrical Representation in the Architectonics of Performance
- General Conclusion
- Theatrical Performance in a Semiotic Perspective – Conclusion
- Supplement
- Derrida - Artaud. The ultimate economy of difference or the suggested word of alienation. The theatre of cruelty and the radical purity of the expulsion of God
- References
- About the author
- Cover
- Title
- Copyright
- About the author
- About the book
- This eBook can be cited
- Contents
- Acknowledgments
- Preface - Theatre of the Day Before (Text, Game, Semiotic Perspective)
- Preface - By The Author
- Introduction: Notes on the Semiotic Nature of Théâtralité
- Part I: Theatricality and Semioticality
- Signs and Sign Configurations - the Space of the Performance as a Signifier
- Semantics of interpretation - the stage figure in the context of performance
- Theatre communication and theatrical codes – aesthetic sign convention and spectator perception
- Reflection of dominance - the sign as absence/presence
- Linguistic and paralinguistic interaction: symbolic transmission, representation, and active convention
- Part II: Performance and Signification
- The performance as a theatrical text - morphology of stage signification
- Actors in the stage space - semantics of interpretation
- Semiotics of the stage – I in the stage space
- Mise-en-scéne – The Representative Convention of Performance
- Phenomenology of the Game-of-Lies - the Incorporation of Theatrical Representation in the Architectonics of Performance
- General Conclusion
- Theatrical Performance in a Semiotic Perspective – Conclusion
- Supplement
- Derrida - Artaud. The ultimate economy of difference or the suggested word of alienation. The theatre of cruelty and the radical purity of the expulsion of God
- References
- About the author
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About the book
Extract
The cultural discourse of theatrical performance defines the theatre sign interaction as an active semiosis. This, in turn, specifies the main objective of the study – the formulation of the basic parameters of this architectonics as a fundament of théâtralité. Since the time of Antiquity the theatre has always been discussing general aesthetic, philosophical, ethical and social issues in the context of a visual image of the specific objects of an intellectual discourse. The book takes a close look at this process of signification, formation of meanings, presentation and interpretation on stage: a theatre performance is a product of an intense sign environment and a major symbol of theatricality.
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Or login to access all content.- Cover
- Title
- Copyright
- About the author
- About the book
- This eBook can be cited
- Contents
- Acknowledgments
- Preface - Theatre of the Day Before (Text, Game, Semiotic Perspective)
- Preface - By The Author
- Introduction: Notes on the Semiotic Nature of Théâtralité
- Part I: Theatricality and Semioticality
- Signs and Sign Configurations - the Space of the Performance as a Signifier
- Semantics of interpretation - the stage figure in the context of performance
- Theatre communication and theatrical codes – aesthetic sign convention and spectator perception
- Reflection of dominance - the sign as absence/presence
- Linguistic and paralinguistic interaction: symbolic transmission, representation, and active convention
- Part II: Performance and Signification
- The performance as a theatrical text - morphology of stage signification
- Actors in the stage space - semantics of interpretation
- Semiotics of the stage – I in the stage space
- Mise-en-scéne – The Representative Convention of Performance
- Phenomenology of the Game-of-Lies - the Incorporation of Theatrical Representation in the Architectonics of Performance
- General Conclusion
- Theatrical Performance in a Semiotic Perspective – Conclusion
- Supplement
- Derrida - Artaud. The ultimate economy of difference or the suggested word of alienation. The theatre of cruelty and the radical purity of the expulsion of God
- References
- About the author
- Cover
- Title
- Copyright
- About the author
- About the book
- This eBook can be cited
- Contents
- Acknowledgments
- Preface - Theatre of the Day Before (Text, Game, Semiotic Perspective)
- Preface - By The Author
- Introduction: Notes on the Semiotic Nature of Théâtralité
- Part I: Theatricality and Semioticality
- Signs and Sign Configurations - the Space of the Performance as a Signifier
- Semantics of interpretation - the stage figure in the context of performance
- Theatre communication and theatrical codes – aesthetic sign convention and spectator perception
- Reflection of dominance - the sign as absence/presence
- Linguistic and paralinguistic interaction: symbolic transmission, representation, and active convention
- Part II: Performance and Signification
- The performance as a theatrical text - morphology of stage signification
- Actors in the stage space - semantics of interpretation
- Semiotics of the stage – I in the stage space
- Mise-en-scéne – The Representative Convention of Performance
- Phenomenology of the Game-of-Lies - the Incorporation of Theatrical Representation in the Architectonics of Performance
- General Conclusion
- Theatrical Performance in a Semiotic Perspective – Conclusion
- Supplement
- Derrida - Artaud. The ultimate economy of difference or the suggested word of alienation. The theatre of cruelty and the radical purity of the expulsion of God
- References
- About the author