Theatre Performance in a Semiotic Perspective
← 144 | 145 →General Conclusion
When discussing the issue of theatre performance from the viewpoint of a semiotic perspective one inevitably explores the materialization of the sign insofar this materialization concerns the immediate creation of a visual concept of what is on display in the stage space. Such an approach helps and is a way to achieve consistency in the process of analysing the final production and perception of meaning, through the positioning of the sign as an essential tool for the study of the show’s stage integrity of the show. In this book’s reasoning the author has tried to follow a similar methodological line in the hope that he would manage to answer the questions regarding the object - the theatre performance, and the subject - its semiotic perspective as well as meet the basic parameters of the set tasks and goals of this study. Here I will try to briefly summarize the path that we have jointly followed:
1/ Here we started out with the belief that if: the text as literature is subject to a hermeneutical treatment, the theatre as action is a consequence of this hermeneutical process, and it is the prime reason for its appearance. Theatrical performance is the product of a triple hermeneutic dependence, in which the audience interprets already interpreted essences, senses and meanings transforming them into other essences, senses and meanings that are already constituted as a theatrical PRESENTATION - a primary text (author), a hermeneutic discourse on this text - interpretation (director), and a...
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