| Description |
1 online resource (viii, 266 pages) : illustrations |
| Series |
Advances in semiotics |
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Advances in semiotics.
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| Contents |
Introduction: Theater Or Semiotics (starting p. 1) -- 0.1 The Textual Analysis of Performance (starting p. 2) -- 0.2 From Structuralism to the Pragmatics of the Text (starting p. 3) -- 0.3 Enunciation, Intertextuality, and Reception (starting p. 4) -- 0.4 Textual Analysis as a Multidisciplinary Approach (starting p. 6) -- 0.5 Epistemological Limits (starting p. 9) -- 0.6 Semiotics and Theater (starting p. 10) -- 1 Dramatic Text and Mise-En-Scene (starting p. 15) -- 1.1 Reasons for a Misunderstanding (starting p. 15) -- 1.2 A Critique of the Conception of the Dramatic Text as a "Constant" or "Deep Structure" of Performance (starting p. 17) -- 1.3 Language and Metalanguage, Text and Metatext (starting p. 20) -- 1.4 Virtual Mise-en-Scene and Real Mise-en-Scene (starting p. 21) -- 1.5 The Irreversibility of Theatrical Transcoding (starting p. 26) -- 1.6 Toward a Definition of the Dramatic Genre (starting p. 30) -- 1.7 Dramatic Discourse (starting p. 34) -- 1.8 The Dramatic Text as "Instructions for Use" (starting p. 37) -- 2 The Performance Text (starting p. 47) -- 2.1 Performance as Text (starting p. 47) -- 2.2 Theatrical Performance: A Definition (starting p. 48) -- 2.3 Completeness and Coherence of the Performance Text (starting p. 56) -- 2.4 The Performance Text: Between Presence and Absence (starting p. 62) -- 2.5 The Double Heterogeneity of the Performance Text (starting p. 77) -- 2.6 Performance Texts Shorter or Longer than One Performance (starting p. 78) -- 2.7 Co-textual and Contextual Aspects (starting p. 80) -- 3 The Textual Structure of Performance (starting p. 83) -- 3.1 Multiple Systems and Single Systems (starting p. 83) -- 3.2 Degrees of Dynamism in the Textual Structure of Performance (starting p. 85) -- 3.3 Partial Structures and Macrostructures (starting p. 88) -- 3.4 Multiple Interpretations, Multiple Structures (starting p. 90) -- 3.5 Analysis/Reading/Criticism (starting p. 93) -- 4 Performance Codes and Theatrical Conventions (starting p. 97) -- 4.1 The Concept of "Code" in Relation to Theatrical Performance (starting p. 97) -- 4.2 Decoding, Comprehension, Interpretation (starting p. 98) -- 4.3 Classification according to Codes and Classification according to Expressive Material (starting p. 100) -- 4.4 Theatrical and Nontheatrical Meanings (starting p. 103) -- 4.5 Performance Codes (in the Strict Sense) (starting p. 104) -- 4.6 Theatrical Conventions (starting p. 106) -- 4.7 The Performance Text as an Example of Invention (starting p. 116) -- 5 Performance Text, Cultural Context, and Inter Textual Practices (starting p. 121) -- 5.1 The Performance Text in the General Text: The Cultural Roots of Codes and Conventions (starting p. 121) -- 5.2 Aesthetic and Nonaesthetic Codes: From Culture to Art and Back (starting p. 124) -- 5.3 Francastel: The Aesthetic Text as Montage of Cultural Objects (starting p. 126) -- 5.4 Types of Theatrical Intertextuality (starting p. 131) -- 6 Toward a Pragmatics of Theatrical Communication (starting p. 137) -- 6.1 The Performance Context (starting p. 137) -- 6.2 Communication in the Theater (starting p. 139) -- 6.3 The Kind and Degree of Communication in Performance (starting p. 142) -- 6.4 Theatrical Manipulation (starting p. 144) -- 6.5 Action/Fiction: The Performance Text as a Macro-Speech Act (starting p. 150) -- 6.6 Theater beyond Simulation and Negation (starting p. 154) -- 7 The Spectator's Task (starting p. 158) -- 7.1 The Current State of Research on Theatrical Reception (starting p. 158) -- 7.2 Research on Reception outside of Theater (starting p. 161) -- 7.3 The Model Spectator: "Closed" Spectators and "Open" Spectators (starting p. 165) -- 7.4 Theatrical Competence (starting p. 171) -- 7.5 Theatrical Genre as a Textual Type (starting p. 171) -- 7.6 Pragmatic Aspects of Theatrical Genres (starting p. 180) -- 7.7 Avant-Garde Theater as Metalinguistic Manipulation of the Performance Context (starting p. 182) -- 7.8 Grammaticality, Acceptability, and Appropriateness of the Performance Text (starting p. 184) -- Notes (starting p. 189) -- Bibliography (starting p. 237) |
| Summary |
"In this brilliant book Marco De Marinis develops a systematic definition of performance in terms of text, a new theoretical object, which he sees as the result of treating theatrical performance as a material object, a mixture of old and new, of the "already said" and the "not yet said." This permits him to view performance as an original combination within a textual structure of pre-existing codes and specific codes that are created anew with each performance and thus recognizable only by abduction."--Jacket |
| Notes |
Translation of: Semiotica del teatro |
| Bibliography |
Includes bibliographical references (pages 237-266) |
| Notes |
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. http://purl.oclc.org/DLF/benchrepro0212 MiAaHDL |
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English |
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Print version record |
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digitized 2010 HathiTrust Digital Library committed to preserve pda MiAaHDL |
| Subject |
Theater -- Semiotics.
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Semiotics.
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PERFORMING ARTS -- Theater -- History & Criticism.
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Semiotics
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Theater -- Semiotics
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Semiotik
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Theatersemiotik
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Drama
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Semiotiek.
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Toneel.
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| Form |
Electronic book
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| ISBN |
0585201056 |
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9780585201054 |
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