The Semiotics Of Performance

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Overview

"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

Indiana University Press

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Product Details

  • ISBN-13: 9780253316868
  • Publisher: Indiana University Press
  • Publication date: 3/1/1993
  • Series: Advances in Semiotics Series
  • Pages: 280
  • Product dimensions: 6.12 (w) x 9.25 (h) x 0.69 (d)

Meet the Author

MARCO DE MARINIS is a Professor at the Institute of Communications and Theater at the
University of Bologna. He is the author of several books and the editor of Versus. ÁINE
O’HEALY is Director of European Studies and Assistant Professor of Italian at Loyola Marymount
University. She is author of numerous works on contemporary Italian literature and cinema.

Indiana University Press

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Table of Contents

Introduction: Theater Or Semiotics
0.1. The Textual Analysis of
Performance
0.2. From Structuralism to the Pragmatics of the Text
0.3.
Enunciation, Intertextuality, and Reception
0.4. Textual Analysis as a Multidisciplinary
Approach
0.5. Epistemological Limits
0.6. Semiotics and
Theater

One. Dramatic Text and Mise-en-Scene
1.1. Reasons for a
Misunderstanding
1.2. A Critique of the Conception of the Dramatic Text as a
"Constant" or "Deep Structure" of Performance
1.3. Language and
Metalanguage, Text and Metatext
1.4. Virtual Mise-en-Scene and Real
Mise-en-Scene
1.4.1. The Residue-Text: A Particular Case?
1.5. The
Irreversibility of Theatrical Transcoding
1.6. Toward a Definition of the Dramatic
Genre
1.7. Dramatic Discourse
1.8. The Dramatic Text as "Instructions for
Use"

Two. The Performance Text
2.1. Performance as
Text
2.2. Theatrical Performance: A Definition
2.2.1. Technical Reproducibility,
Repeatability, Duplicatability
2.2.2. Theater and Everyday Life
2.3. Completeness and Coherence of the Performance Text
2.3.1. The Delimitation of the Performance
Text
2.3.2. Levels of Coherence in the Performance Text
2.4 The Performance Text:
Between Presence and Absence
2.4.1. "Present" Performances and "Absent"
Performances
2.4.2. Ruffini: Contextual Restoration
2.4.3.
Description/Transcription
2.5. The Double Heterogeneity of the Performance
Text
2.6. Performance Texts Shorter or Longer than One Performance
2.6.1. Partial
Texts and Segments of the Performance Text
2.6.2 Groups and Classes of Performance
Texts
2.7. Co-textual and Contextual Aspects

Three. The Textual
Structure of Performance
3.1. Multiple Systems and Single Systems
3.2. Degrees of
Dynamism in the Textual Structure of Performance
3.3. Partial Structures and
Macrostructures
3.4. Multiple Interpretations, Multiple Structures
3.5.
Analysis/Reading/Criticism

Four. Performance Codes and Theatrical
Conventions
4.1. The Concept of "Code" in Relation to Theatrical
Performance
4.2. Decoding, Comprehension, Interpretation
4.3. Classification according to Codes and Classification according to Expressive Material
4.4. Theatrical and
Nontheatrical Meanings
4.5. Performance Codes (in the Strict Sense)
4.6.
Theatrical Conventions
4.6.1 General Conventions
4.6.2. Particular conventions
4.6.3. Distinctive Conventions
4.6.4. Notes and Observations on the
Proposed Classification
4.7. The Performance Text as an Example of
Invention
4.7.1. Transformation and Institution of the Code
4.7.2. The Performance
Text as an Aesthetic Text

Five. Performance Text, Cultural Context, and
Intertextual Practices
5.1. The Performance Text in the Genral Test: The Cultural Roots of
Codes and Conventions
5.2. Aesthetic and Nonaesthetic Codes: From Culture to Art and
Back
5.3. Francastel: The Aesthetic Text as Montage of Cultural Objects
5.3.1. The
Example of the Mythological Festival
5.4. Types of Theatrical
Intertextuality

Six. Toward a Pragmatics of Theatrical Communication
6.1.
The Performance Context
6.2. Communication in the Theater
6.3. The Kind and Degree of Communication in Performance
6.4. Theatrical Manipulation
6.5. Action/Fiction:
The Performance Test as a Macro-Speech Act
6.6. Theater Beyond Simulation and
Negation

Seven. The Spectator’s Task
7.1. The Current State of
Research on Theatrical Reception
7.2. Research on Reception outside of
Theater
7.2.1. The Konstanz School and "Rezeptionsasthetik"
7.2.2 T.A.
van Dijk and W. Kintsch: The Cognitive Processes of Discourse Comprehension
7.3. The Model
Spectator: "Closed" Spectators and "Open" Spectators
7.4. Theatrical
Competence
7.5. Theatrical Genre as a Textual Type
7.6. Pragmatic Aspects of
Theatrical Genres
7.7. Avant-Garde Theater as Metalinguistic Manipulation of the
Performance Context
7.8. Grammaticality, Acceptability, and Appropriateness of the
Performance Text

Notes
Bibliography

Indiana University Press

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