Theatre Performance in a Semiotic Perspective
Preface - Theatre of the Day Before (Text, Game, Semiotic Perspective)
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Knowing how to conceive Metaphors, says Padre Emanuele, and thus to see a World immensely more various than it appears to the uneducated, is an Art that is learned. In this world where today all lose their minds over many and wondrous Machines, and I construct Aristotelian Machines that allow anyone to see with Words. The Metaphor is the only one capable of producing Wonder, which gives birth to Pleasure, as do changes of scene in the theater… And Padre Emanuele turned his cylinders and searched through his drawers, fast as a conjuror, so the metaphors seemed to arise for him as if by enchantment…1
This is how pages of the “Island of the day before” sounds. This Aristotelian telescope giving countless perspectives through the words, transported in time, even today is behind the side-scenes, waiting to be seen and animated on the stage with their own unique language. The analogy with the theatre is hardly accidental: the day before the universe looked like a canvas of uncertain enigmas behind which no longer stands the Author, or if there is one, he seems lost in remaking himself from the too many perspectives. Ivaylo Alexandroff’s book “Architectonics of Theatricality. The Theatrical Performance in a Semiotic Perspective” brings us to such stage alteration, in a time of machines no less astonishing for the mind: a telescope of such nature is the driving engine of its pages: is theatricality an enigma, seen in a semiotic perspective, is our writing for...
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