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Semiotics of Drama and Theatre : New Perspectives in the Theory of Drama and Theatre /
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 cont...
| Clasificación: | Libro Electrónico |
|---|---|
| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam/Philadelphia :
John Benjamins Pub. Co.,
1985.
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| Colección: | Linguistic & literary studies in Eastern Europe ;
v. 10. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- SEMIOTICS OF DRAMA AND THEATRE; Editorial page; Title page; Copyright page; Table of contents; Introduction; NEW PERSPECTIVES IN THE THEORY OF DRAMA AND THEATRE; AN INTRODUCTION; 1. Introduction; 2. The present reader; 3. Conclusion; References; 1. Fundamentals of Theatre Research; THEATRE AND DRAMA RESEARCH; AN ANALYTICAL PROPOSITION* TO CARLOS; 1. Introduction; 2. A science in need for a methodology; 3. Two ways of doing science; 4. Conclusion; II. A FRAMEWORK FOR THEATRE RESEARCH; 1. Introduction; 2. State of affairs within Theatre Research; 2.1. Hermeneutic Theatre Research.
- 2.2. 'Imitative' Theatre Research3. Analytical Theatre Research; 3.1. Introduction; 3.2. Analytical Theory of Science; 3.3. The contents of an Analytical Science of Theatre; 4. Conclusion; References; II. Theory of Drama and Theatre; THE ALGEBRA OF SCENIC SITUATIONS; 1. Definitions; 2. Moore-Brainerd closure. Scenic domination; 3. Peculiar families of scenic configurations; 4. Groups of scenic configurations; References; EVIDENCES ET STRATEGIESDE L'ANALYSE THEATRALE; Notes; Références; ON THE NATURE OF DRAMATIC TEXT; Notes; References.
- COHERENCE AND FOCALITY. A CONTRIBUTION TO THE ANALYSABILITY OF THEATRE DISCOURSENotes; References; III. DESCRIPTIVE THEATRE RESEARCH; THE DRAMATIC DIALOGUE
- ORAL OR LITERARY COMMUNICATION?; 1. Introduction; 2. Four types of dramatic dialogue; 2.1. The Literary dramatic dialogue; 2.2. The Theatrical dramatic dialogue; 3. Conclusion; Notes; References; MUSIC AS THEME AND AS STRUCTURAL MODEL IN CHEKHOV'S THREE SISTERS; 1. Introduction: Potential-Realization Ralationships as Underlying Structural Principle in Chekhov's Later Work; 2. Music in 'Three Sisters': Theme, Sound and Technique.
- 2.1. Music as Theme: Communicative Potentials and (Non- ) Realizations2.1.1. Introduction; 2.1.2. Music and the Prozorovs; 2.1.3. The Lost Key to the Precious Piano; 2.2. Music as Sound: Preliminary Remarks; 2.3. Music as Structural Model; Notes; References; DIE STRATEGIE DER PARADOXIE. ZUR LOGIK DER KONVERSATION IM DANDYISMUS AM BEISPIEL OSCAR WILDES; 1 Die sprachliche Strategie. Paradoxie als questio inter disciplinas; 2. Die historische Situation. Paradoxie als stilistischer Ausdruck des New Spirit der Yellow Nineties (Ein Zwischenspiel); 3. Das Ziel der Attacke.; 4. Das logische Spiel.
- 5. Die konservative Inquisition. 6. Dandy, Camp und fin du globe; Anmerkungen; Literaturhinweise; THE THEATRICAL THEATRE
- EVREINOV'S CONTRIBUTION TO RUSSIAN MODERNISM. AN ANALYSIS OF VESELAJA SMERT'; 1. The Object; 2. Methodology; 3. The historical background; 4. Evreinov's concept of theatricality; 5. Veselaja smert'; 6. Veselaja smert' and commedia dell'arte; 7. Veselaja smert' and symbolism; 8. Conclusion; References; LE ROLE DE L'ESPACE SCENIQUE DANS LA LECTURE DU TEXTE DRAMATIQUE; 0. Prémisses; 1. L'espace scénique dans un 'modèle' du genre dramatique.