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:
Theater > Semiotics.
Semiotics.
Sémiotique et théâtre.
PERFORMING ARTS > Theater > History & Criticism.
Semiotik
Theatersemiotik
Drama
Semiotiek.
Toneel.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • 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).

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