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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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← 6 | 7 →Acknowledgments


This text is the natural result of an international collaboration, the outcome of extensive work and a beneficial consequence of my contacts with many people.

A most profound gratitude I owe to Prof. Eero Tarasti, Professor of Musicology at the University of Helsinki and President of the International Association for Semiotic Studies, for his invitation to me to conduct research on this study in Helsinki, Finland, and his assistance in establishing contacts with the Theatre Academy of Finland. I owe him the opportunity to be a scholarship holder of The Niilo Helander Foundation, thanks to which I managed to finalize this work.

I express gratitude to the management of Theatre Academy of Finland, now part of University of the Arts Helsinki and personally to Prof. Pentti Paavolainen, and Ann-Christin Hellberg-Sagfors. To all these people, and to Professor Tarasti, I owe the opportunity to have been twice a fellow of Center for International Mobility (CIMO) at the Government of Finland.

← 7 | 8 →I express deep gratitude to Republic of Finland, Finnish Government and CIMO Foundation as well as the Niilo Helander Foundation, whose financial incentives helped my stay in Finland and the successfully completion of the research process.

I am grateful to Dr. Kari Salosari, an undisputed capacity in the field of theatre semiotics in Finland for the extremely valuable discussions, advice and consultation regarding this work.

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