The Semiotics of Performance

The Semiotics of Performance

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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 yet said." This permits him to view performance as an original combination within a textual structure of pre-existing codes and specific codes that are created anew with each performance and this recongizable only be more

Product details

  • Hardback | 280 pages
  • 166 x 234 x 28mm | 639.58g
  • Indiana University Press
  • Bloomington, IN, United States
  • English
  • black & white illustrations
  • 0253316863
  • 9780253316868
  • 2,000,147

About Marco De Marinis

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. AINE 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 more

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 OConstantO or ODeep StructureO 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 OInstructions for UseO 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. OPresentO Performances and OAbsentO 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 OCodeO 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 SpectatorOs 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 ORezeptionsasthetikO 7.2.2 T.A. van Dijk and W. Kintsch: The Cognitive Processes of Discourse Comprehension 7.3. The Model Spectator: OClosedO Spectators and OOpenO 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 Bibliographyshow more

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