Theatre Performance in a Semiotic Perspective
Introduction: Notes on the Semiotic Nature of Théâtralité
Each artistic co-creation, being an actual creation, unfolds the context of its own ontological significance and constitutes an open space for each antinomic perception of causality8 as totally independent and simultaneously completely replaceable predicate. One such finding is the result of my absolute confidence in the profound ability for semantic conceptualization of every artistic act (creation), which, proceeding from its own constructivity, could be seen as an extremely divisible and interchangeable (in its intentional and meaningful semantic integrity) ratio: co-knowledge-about-something. Its divisibility (and interchangeability with different - in their complexity - semantic structures) manifests its over-interpretative essence postulating its sign nature as signifiers-in-the-context-of-the-significant.
Radically bound to its nature of a cognitive imperative, an artistic act unfolds a total commitment to a large-scale presentation of life paradigms that are foreshadowing a strict articulation of life as a sensory-conscious and psychologically regulated concept. Life, being a life-on-display, emanates from its own internal dependence of an act being constructed in its living wholeness and causality which in its absolute form and dimension constitutes its value as artistic co-creation of displays adequate to its essence. As a subject of an open existential orgy, life takes its own creation as a primordial and archetypal one in the context of its status of a reproducible apperception from the actual existence. Life demands an existence in its overall intra-structural load with polyvalent sign connotations debating and transforming its over-interpretative meaningfulness into significance, i.e. into an ability for conceptualization adequate to human intellectual experience. Categorizing similar...
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