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Jiří Veltruský (1919–1994) publikoval mnoho dílčích článků o sémiotice divadla, ale až na sklonku života se pokusil své poznatky, vycházející z pojetí Pražského lingvistického kroužku, shrnout do komplexní teorie. Ačkoliv dílo nebylo dokončeno, jeho rozsah umožnil posmrtně je rekonstruovat a v anglické verzi předložit odborné veřejnosti.
Keir Elam showed how this new 'science' could provide a radical shift in our understanding of theatrical performance, one of our very richest and most complex forms of communication.
This invaluable student handbook is the first detailed guide to explain in detail the relationship between the drama text and the theory and practice of drama in performance. Beginning at the beginning, with accessible explanations of the meanings and methods of semiotics, Theatre as Sign System addresses key drama texts and offers new and detailed information about the theories of performance.
The volume presents perspectives in the theory of drama and theatre that are new for the following reasons: 1) the contributions reflect the international cooperation in developing drama and theatre as well as its theories; 2) this collection is the first attempt of presenting papers within the context of (Analytical) Theory of Science; 3) it is the first consistent set of papers starting from semiotics a s a meta-theory. The volume is divided into four sections: I Fundamental of Theatre Research, II Theory of Drama and Theatre, III Descriptive Theatre Research, IV Applied Theatre Research. The fifth and final section offers a selective bibliography of analytical approaches to drama and theatre.
"The book... succeeds at refining elements in the problem that semiotics and theater represent to and for one another." -- Choice "The Semiotics of Performance surprisingly retains its revelatory freshness, and actually opens up areas of reseach that could very well supply new incentives for further probing into what semiotics can offer to the study of theatre." -- Theatre Survey
The Semiotic Stage provides the first comprehensive summary of the writings that founded contemporary theater semiotics. The Prague School theater writings are placed in their theoretical context, and integrated in relation to major artistic areas like acting, design and dramatic writing. The influence of the Prague School and its relation to the current state of theater study are also thoroughly discussed.
This is a new and enlarged edition of Mark Fortier's very successful and widely used essential text for students. Theory/Theatre provides a unique and engaging introduction to literary theory as it relates to theatre and performance. Fortier lucidly examines current theoretical approaches, from semiotics, poststructuralism, through cultural materialism, postcolonial studies and feminist theory. This new edition includes: * More detailed explanation of key ideas * New 'Putting it into practice' sections at the end of each chapter so you can approach performances from specific theoretical perspectives * Annotated further reading section and glossary. Theory/Theatre is still the only study of its kind and is invaluable reading for beginning students and scholars of performance studies.
n recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coherence, the spectacle contract.
Ubersfeld show how formal analysis can enrich the work of theatre practioners and offers a reading of the symbolic structures of stage space and time as well as opening up mulitple possibilities for interpreting a play's line of action.
Theatre Semiotics provides a thorough argument for the place and the necessity of semiotics within the interpretive process of theatre.