Theatre Performance in a Semiotic Perspective
Phenomenology of the Game-of-Lies - the Incorporation of Theatrical Representation in the Architectonics of Performance
At the end of this work we will try to give a clear definition of the problem of theatrical lie as a fiction and as an aesthetic method of performative constitution of reality, as well as try to do so from the position of an obvious semiotic discourse in the context of the radical idea of Umberto Eco (1976, 1993)270 relating to a possible theory of lies. Of course, at the very outset we have to clarify that such a theory practically does not exist, or rather it is only an idea, but as a theoretical construct this idea does a perfect job in the context of this research, regarding the performative semiosis of theatre performance.
Definitely, it is extremely difficult to study the systematic form of the so-called “theory of lies” set by Eco in his “A Theory of Semiotics” as he interpreted it as a structured programme covering a comprehensive course in general semiotics. In this sense, we would not be able to ascertain what exactly this particular “theory” is and what its pragmatic limits actually frame, due to the fact that Eco himself does not specify adequately everything and leaves a wide open context for interpretation of its semantic parameters from a position of an absolute semiotic cognoscibility. He succinctly states that:
“Thus semotics is in principle the discipline studying everything which can be used in order to lie. If something cannot be used to tell a lie, conversely it cannot be...
You are not authenticated to view the full text of this chapter or article.
This site requires a subscription or purchase to access the full text of books or journals.
Do you have any questions? Contact us.Or login to access all content.