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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.
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.
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.
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.
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.
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.
"The most thorough, systematic and convincing semiotics of the theater we have. . . . [L]ike those of Eco, it is an important conceptual synthesis, and a bibliographical gold mine." —Modern Language Notes" . . . impresses with its thoroughness and the informed perspective of its author . . . " —Theatre Survey" . . . a classic text . . . " —Theatre Research International"Immediately accessible to readers with some knowledge of theater but not much of semiotics. . . . For anyone with an interest in theater production and performance, or indeed theater history." —Marvin Carlson
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.
A semiotic analysis is made of the six major plays by Eugene O'Neill and an attempt is made to yield a systematic analysis towards humanistic interpretations of texts. Theoretical interpretations are enriched with discussions of the plays. Technical matters such as the segmentation of the text are specified in appendices. Six semiotic dimensions have been studied: motifs, theatrical semiotic systems, their use in communicational functions, role function of the dramatis personae, their levels of awareness, and aristotelian divisions.