Theatre Performance in a Semiotic Perspective
Mise-en-scéne – The Representative Convention of Performance
Yet Antonin Artaud at the beginning of the twentieth century, under the influence of his own ideas for radical theatralisation of the world as a “theatre of cruelty”, proclaimed the idea for the ability of the stage to communicate its own unique language. He maintained that the physical space of the stage should be filled with the power of images creating a world as well as the symbols of their presentation through which the viewer mind a world in which he feels comfortable in order to allow the actors representing must literally be involved in the work/performance (Artaud 1938, 1958231, Witkiewicz 1919, 1959232). This language presented to the audience in its overall significance, builds in the viewer’s what is happening to implement it in their imaginary world233 and instilling in it, aggressively enough, their speech, to provoke its identity to the extreme. As noted further by McAuley:
“The actors may have determined the emotional content of a scene, it is their physical actions in the space (gestures, move, looks) that will articulate it for the audience.”234
The audience is one that has to desire its imagination to be effectively stimulated by the signifying that is happening on stage and in this sense, trigger the co-creations of the theatrical semiosis.
The relationship between the actor and space in the process of building a performative text, this powerful semiotic connection with the viewer, shows the performance as a real semiosis. Concerning the problem of stage-audience...
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