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The semiotics of performance /

"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 y...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: De Marinis, Marco
Formato: Electrónico eBook
Idioma:Inglés
Italiano
Publicado: Bloomington, Ind. : Indiana University Press, ©1993.
Colección:Advances in semiotics.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a De Marinis, Marco. 
240 1 0 |a Semiotica del teatro.  |l English 
245 1 4 |a The semiotics of performance /  |c Marco De Marinis ; translated by Áine O'Healy. 
260 |a Bloomington, Ind. :  |b Indiana University Press,  |c ©1993. 
300 |a 1 online resource (viii, 266 pages) :  |b illustrations 
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490 1 |a Advances in semiotics 
500 |a Translation of: Semiotica del teatro. 
504 |a Includes bibliographical references (pages 237-266). 
588 0 |a Print version record. 
506 |3 Use copy  |f Restrictions unspecified  |2 star  |5 MiAaHDL 
533 |a Electronic reproduction.  |b [Place of publication not identified] :  |c HathiTrust Digital Library,  |d 2010.  |5 MiAaHDL 
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583 1 |a digitized  |c 2010  |h HathiTrust Digital Library  |l committed to preserve  |2 pda  |5 MiAaHDL 
505 0 0 |t Introduction: Theater Or Semiotics  |g (starting p. 1) --  |g 0.1  |t The Textual Analysis of Performance  |g (starting p. 2) --  |g 0.2  |t From Structuralism to the Pragmatics of the Text  |g (starting p. 3) --  |g 0.3  |t Enunciation, Intertextuality, and Reception  |g (starting p. 4) --  |g 0.4  |t Textual Analysis as a Multidisciplinary Approach  |g (starting p. 6) --  |g 0.5  |t Epistemological Limits  |g (starting p. 9) --  |g 0.6  |t Semiotics and Theater  |g (starting p. 10) --  |g 1  |t Dramatic Text and Mise-En-Scene  |g (starting p. 15) --  |g 1.1  |t Reasons for a Misunderstanding  |g (starting p. 15) --  |g 1.2  |t A Critique of the Conception of the Dramatic Text as a "Constant" or "Deep Structure" of Performance  |g (starting p. 17) --  |g 1.3  |t Language and Metalanguage, Text and Metatext  |g (starting p. 20) --  |g 1.4  |t Virtual Mise-en-Scene and Real Mise-en-Scene  |g (starting p. 21) --  |g 1.5  |t The Irreversibility of Theatrical Transcoding  |g (starting p. 26) --  |g 1.6  |t Toward a Definition of the Dramatic Genre  |g (starting p. 30) --  |g 1.7  |t Dramatic Discourse  |g (starting p. 34) --  |g 1.8  |t The Dramatic Text as "Instructions for Use"  |g (starting p. 37) --  |g 2  |t The Performance Text  |g (starting p. 47) --  |g 2.1  |t Performance as Text  |g (starting p. 47) --  |g 2.2  |t Theatrical Performance: A Definition  |g (starting p. 48) --  |g 2.3  |t Completeness and Coherence of the Performance Text  |g (starting p. 56) --  |g 2.4  |t The Performance Text: Between Presence and Absence  |g (starting p. 62) --  |g 2.5  |t The Double Heterogeneity of the Performance Text  |g (starting p. 77) --  |g 2.6  |t Performance Texts Shorter or Longer than One Performance  |g (starting p. 78) --  |g 2.7  |t Co-textual and Contextual Aspects  |g (starting p. 80) --  |g 3  |t The Textual Structure of Performance  |g (starting p. 83) --  |g 3.1  |t Multiple Systems and Single Systems  |g (starting p. 83) --  |g 3.2  |t Degrees of Dynamism in the Textual Structure of Performance  |g (starting p. 85) --  |g 3.3  |t Partial Structures and Macrostructures  |g (starting p. 88) --  |g 3.4  |t Multiple Interpretations, Multiple Structures  |g (starting p. 90) --  |g 3.5  |t Analysis/Reading/Criticism  |g (starting p. 93) --  |g 4  |t Performance Codes and Theatrical Conventions  |g (starting p. 97) --  |g 4.1  |t The Concept of "Code" in Relation to Theatrical Performance  |g (starting p. 97) --  |g 4.2  |t Decoding, Comprehension, Interpretation  |g (starting p. 98) --  |g 4.3  |t Classification according to Codes and Classification according to Expressive Material  |g (starting p. 100) --  |g 4.4  |t Theatrical and Nontheatrical Meanings  |g (starting p. 103) --  |g 4.5  |t Performance Codes (in the Strict Sense)  |g (starting p. 104) --  |g 4.6  |t Theatrical Conventions  |g (starting p. 106) --  |g 4.7  |t The Performance Text as an Example of Invention  |g (starting p. 116) --  |g 5  |t Performance Text, Cultural Context, and Inter Textual Practices  |g (starting p. 121) --  |g 5.1  |t The Performance Text in the General Text: The Cultural Roots of Codes and Conventions  |g (starting p. 121) --  |g 5.2  |t Aesthetic and Nonaesthetic Codes: From Culture to Art and Back  |g (starting p. 124) --  |g 5.3  |t Francastel: The Aesthetic Text as Montage of Cultural Objects  |g (starting p. 126) --  |g 5.4  |t Types of Theatrical Intertextuality  |g (starting p. 131) --  |g 6  |t Toward a Pragmatics of Theatrical Communication  |g (starting p. 137) --  |g 6.1  |t The Performance Context  |g (starting p. 137) --  |g 6.2  |t Communication in the Theater  |g (starting p. 139) --  |g 6.3  |t The Kind and Degree of Communication in Performance  |g (starting p. 142) --  |g 6.4  |t Theatrical Manipulation  |g (starting p. 144) --  |g 6.5  |t Action/Fiction: The Performance Text as a Macro-Speech Act  |g (starting p. 150) --  |g 6.6  |t Theater beyond Simulation and Negation  |g (starting p. 154) --  |g 7  |t The Spectator's Task  |g (starting p. 158) --  |g 7.1  |t The Current State of Research on Theatrical Reception  |g (starting p. 158) --  |g 7.2  |t Research on Reception outside of Theater  |g (starting p. 161) --  |g 7.3  |t The Model Spectator: "Closed" Spectators and "Open" Spectators  |g (starting p. 165) --  |g 7.4  |t Theatrical Competence  |g (starting p. 171) --  |g 7.5  |t Theatrical Genre as a Textual Type  |g (starting p. 171) --  |g 7.6  |t Pragmatic Aspects of Theatrical Genres  |g (starting p. 180) --  |g 7.7  |t Avant-Garde Theater as Metalinguistic Manipulation of the Performance Context  |g (starting p. 182) --  |g 7.8  |t Grammaticality, Acceptability, and Appropriateness of the Performance Text  |g (starting p. 184) --  |t Notes  |g (starting p. 189) --  |t Bibliography  |g (starting p. 237). 
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