Relevant bibliographies by topics / Theater – Semiotics

Academic literature on the topic 'Theater – Semiotics'

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Published: 4 June 2021
Last updated: 31 January 2023

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Journal articles on the topic "Theater – Semiotics"

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Mouratidou, Eleni. "De la sémiotique de la représentation théâtrale à l’anthropologie culturelle: Pourquoi le théâtre (résiste)? — From the semiotics of theatrical representation to cultural anthropology or why theater (resists)?" Sign Systems Studies 34, no. 2 (December 31, 2006): 527–38. http://dx.doi.org/10.12697/sss.2006.34.2.14.

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From the semiotics of theatrical representation to cultural anthropology or why theater (resists)? In this paper I propose an epistemological approach to the field of theatre semiotics from the beginning of the 20th century to our days. Firstly, I point out two different periods that have influenced theatre semiotics. The first one centres on reflections and studies by the Prague School of Structuralism. More precisely, I address Jan Mukařovsky’s essays about art and society as well as Jindrich Honzl’s contributions to the study of sign and system in theatre. The second period presented here is that of theatre semiotics in the early 70s and late 80s in France. My goal here is to expose the main reasons that led theatre semiotics to a deadlock in the early 90s. Theatre semiotic research has been rich and fruitful in the beginning of last century. However, in our days it is generally deemed unadvisable to describe theatre representation in terms of sign and system. Although theatre semiotics used to be presented in French university classes, it is no longer possible to do so. Even though general semiotics has progressed by denying the importance of structure and by refusing to search for the minimal sign and its code, theatre semiotics has remained faithful to old communicational semiotics research. Throughout my contribution, I would like to examine the kind of semiotic field best fit to approaching an artistic domain such as theatre. In other words, I would like to show that Western theatre, granted it can be seen as a semiotic object, is first and foremost an artistic and cultural one. In order to do so, I propose a theoretical and methodological framework based on a specific semiotic model: the “indicial semiology” proposed by Anne-Marie Houdebine. Inspired by Juri Lotman’s essays about culture and art, I will try to set “indicial semiology” in the general field of a cultural anthropology.
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Misnawati Misnawati, Petrus Poerwadi, Apritha Apritha, Anwarsani Anwarsani, and Siti Rahmawati. "Kajian Semiotik Pertunjukan Dalam Performa Drama “Balada Sakit Jiwa”." PROSIDING SEMINAR NASIONAL PENDIDIKAN, BAHASA, SASTRA, SENI, DAN BUDAYA 1, no. 1 (May 22, 2022): 110–24. http://dx.doi.org/10.55606/mateandrau.v1i1.148.

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Performance Semiotics in Dramatic Performance is a study of the semiotics of theater or stage performances related to the theory of signs and sign systems in the performing arts called theater. Theater semiotics tries to understand the components of theater and establishes the assumption that everything within the framework of theater is a sign or sign. Theatrical performances are essentially a series of sign systems. This study aims to: (1) reveal the process of creating and presenting the performance art of the Mental Ill Ballad Drama, (2) reveal signs related to the activities of the Mentally Ill Ballad Drama performance actors, (3) reveal signs related to the appearance of the Mentally Ill Ballad Drama performance actors Jiwa, (4) reveals signs related to the spatial aspect or place of the performance of the Mentally Ill Ballad and (5) reveals signs related to the non-verbal acoustic aspects of the Mentally Ill Ballad's performance. This research was carried out at the Campus of the Indonesian Language and Literature Education Study Program, Department of Language and Arts Education, FKIP, Palangka Raya University, Central Kalimantan Province. The object of research is students who practice theater and perform theater. This study involved (1) lecturers who taught the Drama/Theatre Performance course, (2) drama/theatre arts workers, and (3) students who practiced and performed plays/theatre. Data collection techniques in this field research are observation, recording, recording, and interviews. The collected data will be analyzed using the theory of Performance Semiotics. The performance semiotics contained in the performance of the drama Balada Illness, are: (1) signs related to the process of creating and presenting performing arts, (2) signs related to actor activities, (3) signs related to actor appearances, (4) signs related to spatial aspects, and (5) signs related to non-verbal acoustics.
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Gvoždiak, Vít. "Ivo Osolsobě on General Semiotics in the Czech Tradition." American Journal of Semiotics 37, no. 3 (2021): 243–65. http://dx.doi.org/10.5840/ajs202231477.

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This paper attempts to reconstruct Ivo Osolsobě’s criticism of the notion that the Prague Linguistic Circle stood for or did, in fact, introduce general semiotics to Czechoslovakia. In the first part, it presents the wider context of the origins of Osolsobě’s critique. In the second part, it discusses the definition and analysis of the main reasons for this criticism (which included a close connection with language and a lack of reflection on basic semiotic concepts in the works of the Prague School) and sketches an alternative for general semiotics in the form of cybernetics and theater semiotics. The final section deals with the position of the most important representatives of general semiotics (Charles Peirce, Ferdinand de Saussure, and Louis Hjelmslev) for the Czech tradition.
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Amil, Ahmad Jami’ul. "THEATER PERFORMANCE ANALYSIS FORBIDDEN FROM SINGING IN BATH ROOM BY SENO GUMIRA AJIDARMA THEATER HAD STUDY PROGRAM IN INDONESIAN LANGUAGE AND LITERATURE EDUCATION TRUNOJOYO MADURA UNIVERSITY (CARLES SANDERS PEARCE SEMIOTIC STUDY)." Prosodi 14, no. 2 (October 4, 2020): 147–51. http://dx.doi.org/10.21107/prosodi.v14i2.8803.

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This research is descriptive qualitative research that examines theatrical performances of scripts. It is forbidden to sing in the bathroom. The work of Seno GumiraAjiDarma is the study of semiotic carlesanderspearce. The formulation of the problem in this research is how the study of semiotics in the tetater show had once been conducted by the PBSI Study Program using the study of semiotic carles sanders Pearce. Data collection techniques using documentation techniques, note, and see. The analysis technique used is reducing data, promising data, and verifying data. From the results of the study concluded that the semiotics that appear on signs and markers in the form of symbols are the dance of the bathroom, sound, and the shadow of the bathroom. The index aspect is in the form of actor actions in the form of exoticism, anxiety, admiration, exoticism, and the imagination of the actor. The iconic aspect is shown in one of the events, namely the social environment in the form of a house, bathroom, and boarding house.
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Kolodii, Bogdana, Mariya Tkachivska, Mariia Grytsenko, Olena Stepanenko, Ivan Bakhov, and Vasyl Tkachivskyi. "Semiotics of Media Text Translation." Postmodern Openings 13, no. 4 (November 29, 2022): 497–512. http://dx.doi.org/10.18662/po/13.4/529.

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The topic of the article is important, because nowadays there is a need to study the semiotics of media text translation, the use of innovations in choosing the types of media text translation. The aim of the article is the need to study and substantiate the importance of studying the essence of the concepts of “semiotics”, “media text”. The article gives a theoretical justification for the concept of media text in the field of mass communication, substantiates the semiotics of learning about signs and sign systems; semiotic characteristics of media texts translation are given. In the field of view of semiotics are various sign systems, features of translation of these signs in media texts, in particular: natural (spoken) and artificial (formal) languages, sentence systems of scientific theories, signaling systems in society and nature, states and many others. Artificial languages can also be considered as sign systems (including the “language” of scientific theory, “languages” of fine arts, cinema, theater, music), various types of visual sign systems (from road signs to painting), as well as any complex control systems considered from the standpoint of cybernetics: machines, devices and their circuits, living organisms, their subsystems (for example, central nervous system), industrial and social associations and society as a whole.
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Rozik, Eli. "The Functions of Language in the Theatre." Theatre Research International 18, no. 2 (1993): 104–14. http://dx.doi.org/10.1017/s0307883300017260.

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Roman Ingarden's publication of ‘The Functions of Language in the Theater’ (1958) was a landmark in the development of theatre theory in the twentieth century. Since its appearance several methods of research have radically influenced our understanding of the functions of language within this art, particularly semiotics, pragmatics and philosophy of language. More than thirty years after publication of Ingarden's work, it is sensible to address the same question once again and to suggest a theory that reflects the state of the art today.
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Turmudzi, Muhammad Imam. "SEGMENTASI SISTEM TANDA TEKS DRAMA SURREAL “LAKI-LAKI LAUT” KARYA IWAN EFFENDI: PERSPEKTIF TADEUSZ KOWZAN." ALAYASASTRA 16, no. 1 (May 29, 2020): 135. http://dx.doi.org/10.36567/aly.v16i1.356.

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ABSTRAKPenelitian ini mendeskripsikan tanda dalam teks drama surreal “Laki-Laki Laut” karya Iwan Effendi dengan cara mengklasifikasikannya menjadi beberapa segmen sistem tanda. Pendekatan yang digunakan adalah semiotika teater Tadeusz Kowzan yang berfokus pada tiga belas sistem tanda dalam teks drama. Sumber data penelitian adalah teks drama surreal “Laki-Laki Laut” karya Iwan Effendi yang penulis dapatkan langsung dari pengarang. Data diperoleh dengan teknik baca dan catat. Penelitian ini merupakan penelitian deskriptif kualitatif. Hasil penelitian menunjukkan segmentasi tiga belas sistem tanda, meliputi kata (bahasa), nada (paralingustik), mimik, gesture, gerak, tata rias (make-up), gaya rambut, tata busana (kostum), properti (prop), ruang panggung (setting), tata cahaya (lighting), musik, dan bunyi (sound effects). Kata kunci: segmentasi tanda, semiotika teater, Tadeusz Kowzan, teks dramaABSTRACTThe study described the sign in the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi by classifying it into several sign system segments. The approach used is the Tadeusz Kowzan theater semiotics which focuses on thirteen sign systems in the drama text. The source of the research data is the surreal drama text of the "Laki-Laki Laut" by Iwan Effendi. Data is obtained by reading and recording techniques. This research is a qualitative descriptive study. The results of the research are thirteen segmentation sign systems, including: word (language), tone (paralingustik), expression, gesture, motion, make-up, hairstyle, fashion (costume), property (prop), setting (stage space), lighting, music, and sound effects.Keywords: sign segmentation, theater semiotics, Tadeusz Kowzan, drama text
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Hartley, Andrew James. "Philip Massinger's The Roman Actor and the Semiotics of Censored Theater." ELH 68, no. 2 (2001): 359–3766. http://dx.doi.org/10.1353/elh.2001.0014.

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Frantzen, Allen J. "DRAMA AND DIALOGUE IN OLD ENGLISH POETRY: THE SCENE OF CYNEWULF'SJULIANA." Theatre Survey 48, no. 1 (April 25, 2007): 99–119. http://dx.doi.org/10.1017/s0040557407000385.

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InThe Semiotics of Performance, Marco de Marinis notes that the field of performance studies has greatly expanded the traditional categories of drama and theatre. “It is obvious,” he writes, “that we are dealing with a field that is far broader and more varied than the category consisting exclusively oftraditional stagings of dramatic texts, to which some scholars still restrict the class of theatrical performances.” A few scholars of early theatre history have embraced expanded categories of performance. Jody Enders's “medieval theater of cruelty,” for example, rests on a concept of “atheoryof virtual performance” that translates “into actual medieval dramatic practice.” Carol Symes's study of the “dramatic activity” suggested by medieval French manuscripts identifies “a vital performative element within the surrounding culture.” Both writers have shown how new ideas of performance enlarge the category beyond the “traditional stagings” described by de Marinis.
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Jung, Seung Won. "A Study of Theater Semiotics of Yuri Lotman: ‘The Two Types of Signs’ and ‘The Typology of Theater’." Institute for Russian and Altaic Studies Chungbuk University 24 (February 28, 2022): 427–53. http://dx.doi.org/10.24958/rh.2022.24.427.

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Dissertations / Theses on the topic "Theater – Semiotics"

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Calcamp, Kevin. "The Semiotics of Celebrity at the Intersection of Hollywood and Broadway." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1471741170.

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Smith, Terry Donovan. "Text and performance : semiotic analysis for dramaturgy and the development of production concepts /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/10226.

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Gowan, Gerry. "A journey into no-man's land." Thesis, Queensland University of Technology, 1997.

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This research examines two years of original writing and performance in stand-up comedy and performance art. The researcher/artist has attempted to realize in performance what has been conceptualized as the silenced imaginary of the Other. Accepting notions of a Symbolic Order which governs culture, of which woman is not the subject, and in which woman has no voice, it was proposed that in the ritual of theatre this Symbolic Order might be refused and the researcher/performer might find it possible to express her own imaginary. The experimentation was done within two theatrical forms which have a history of transgressive performance and performances were created and performed over a two year period, first in Australia and then in Britain. The research is based on postmodern feminist philosophical notions about the nature of culture and possible resistance of that culture by those who find its narrative wanting. It is an attempt to generate an understanding of what is possible when in the simulated reality of the theatre a woman rejects inherited visions of herself and seeks to allow the flow of her own imaginary, her own desire. This paper documents a rigorous search to develop a new voice in performance.
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Norman, Amandreas. "Att göra bildkonst av teater : En semiotisk analys av Uppsala stadsteaters visuella retorik under 2018." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-448608.

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The purpose of this essay is to examine nine posters from 2018 made by the Uppsala City Theater to determine how the posters communicate with the beholder. The questions asked are: How does each poster work to persuade its beholder that the play it refers to is of interest to the beholder? What strategies are used? And how do the posters correlate to each other? Are there any common or reoccurring themes?  The theoretical framework consists of previous research about both movie and theater posters, semiotics, aesthetics and visual communication. A semiotic analysis shows that the posters favor the plays’ aesthetics over information about the production and that the Uppsala City Theater’s visual marketing is adhering to their brand, leading to the posters having a coherent style. Differences between how movie posters and theater posters are designed and the use of nudity in theater marketing are also discussed.
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Simonetti, Alpha Condeixa. "Palavra dramática: voz e tensividade." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-16082012-111615/.

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O presente estudo procura descrever os usos da voz nas encenações teatrais, colocando em relevo suas especificidades enquanto objeto sonoro, bem como as marcas deixadas na esfera acústica pela instância do sujeito da enunciação. Como metodologia de análise, contemplamos o arcabouço teórico da semiótica de filiação estrutural e francesa, de modo que buscamos uma primeira aproximação entre os processos de significação mobilizados pela voz do ator teatral e o modelo tensivo desenvolvido atualmente. Para chegar à parte empírica de nosso estudo, refletimos sobre as bases fundamentais da teoria, revisitando o debate sobre as definições de teatralidade contemporânea e, assim, sobre as possibilidades de análise da gestualidade vocal produzida no momento de atuação. Para a descrição de um corpus, selecionamos determinadas cenas a partir de duas elaborações cênicas diferentes, ambas concebidas por Antunes Filho, sobre uma mesma obra trágica, Medeia de Eurípides. Comparamos os usos da voz em relação às construções das personagens e aos seus posicionamentos nas situações dramáticas, observando desse modo as qualificações modais e passionais sugeridas pelas encenações.
This study tries to describe the uses of voice in theatrical performances, emphasizing their specificities as a sound-based object, as well as the imprints left in the acoustic field because of the urgency of the subject of enunciation. As an analysis methodology, we considered the theoretical framework of structural and French-based semiotics, in order to seek a closer relationship between the processes of meaning mobilized by the theatrical actors voice and the currently-developed tensive model. To reach the empirical part of our study, we considered the foundations of the theory, revisiting the debate on the definitions of contemporary theatricality, and therefore, on the possibilities of analysis of the vocal gestures produced at the time of the performance. For the description of a corpus, we selected certain scenes from two different scenic constructions, both devised by Antunes Filho, on the same tragic work, Medea by Euripides. We compared the uses of voice concerning the construction of the characters and their positioning in dramatic situations, thereby observing the modal and passionate qualifications suggested by the acting.
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Shapiro, Bruce G. "Iconicity : the presence of imagery in the principles and practice of dramatic performance." Thesis, Queensland University of Technology, 1997.

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This thesis is devoted to an explanation of iconicity, a process for acting and staging dramatic performances. The premise of the thesis is that dramatic performance is generated out of the same innate neural architecture human beings use in their daily lives to execute events. At the core of this neural architecture is the human brain's capacity for internally generating, reduplicating, storing and triggering imagery. The process of iconicity uses this mental capacity to rehearse and perform dramas. The process of iconicity is based upon the actor's innate cycle of performance, which the thesis explains. This process is also neopragmatic and hermeneutic, using rehearsal to cultivate strands of iconicity persisting and, therefore, conversing in the drama. In dramatic performance, contrived imagery is triggered in the actor, informing a performance consciousness that activates the actor's contrived cycle of dramatic performance. The research was carried out in rehearsals for around twenty-five productions over a period of sixteen years, during which time the iconicity process was developed in practice. Therefore, this thesis is the record of a journey through artistic practice toward the iconicity process. In order to understand the discoveries made during rehearsals, a variety of critical theories came into play and these are discussed in this thesis. But the context for all theoretical discourse is the artistic practice of dramatic performance. With respect to the presentation of the thesis itself, my aim is to emulate the iconicity process by a linear discourse which, once read, may be reread in its entirety or according to an individually ordered selection of the sub-headed sections. The linear discourse itself is divided into two parts preceded by the Introduction. This introduction briefly establishes some foundational perspectives that are meant to orient the reader to the content of the thesis. Part One is devoted to the principles of iconicity. It begins with a Prologue presenting the theory of innate performance, from which I believe dramatic performance derives. Chapter One is devoted to ideology; Chapter Two answers the question, What is Acting?; and Chapter Three introduces the affect theory of the emotions. Although at times the initial presentation of perspectives and principles refers to practice, essentially, the Introduction and Part One comprise a mosaic of ideas that make up a lateral foundation for the more linear practice of iconicity, which is presented in Part Two. Part Two is much more practically oriented than Part One. However, in order to fully understand this latter part of the thesis, the foundation of ideas set out in Part One must be kept in mind. The four chapters of Part Two present the strands of iconicity. Chapters Four and Five deal with the strand of events and the rules of dramatic structure, respectively. Chapter Six details what I refer to as the intermediate strands of dialogue and interactions. Chapter Seven discusses the strand of performance. An Epilogue addresses a few remaining issues about acting and iconicity.
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Turner, Matthew R. "Signs of Comedy: A Semiotic Approach to Comedy in the Arts." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1126899710.

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Animbom, Ngong Paul. "Towards the development of a therapeutic theatre in Cameroon: Investigating its practice and reception through a cross-case evaluation." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209340.

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Le théâtre thérapeutique est une espèce de spectacle vivant qui augmente la sensibilité des participants afin qu’ils puissent améliorer leur habileté à exprimer des émotions et des pensées verbales et gestuelles. Comme genre hybride, il fonctionne de la même manière que le théâtre pour le changement social (TPCS) dans lequel la praxis théâtrale est utilisée pour le changement des participants et des communautés ainsi que pour la promotion du bien-être. Cette pratique (le TPCS) est donc utilisée pour le changement social, mental, et surtout émotionnel. Au cours de ces dernières décennies, ces deux pratiques ont été considérées et traitées distinctement. Contrairement à cette perception historique, cette thèse prétend qu’il existe un paradigme dans lequel ces formes se rejoignent. Appelé théâtre thérapeutique, il est beaucoup plus appliqué au Cameroun dans des communautés. Ce cas hypothétique est examiné sous le titre :« Pour un Développement du Théâtre Thérapeutique au Cameroun :enquête sur sa pratique et sa réception à travers une évaluation de cas. » Trois productions du TPCS/théâtre thérapeutique sont donc utilisées :The Boomerang, Ndop et SOS Village Mbalmayo workshops.

Le cadre théorique convoqué à cet effet est la sémiologie théâtrale telle que vue et énoncée par André Helbo. Développée de la pragmatique, sa sémiologie théâtrale est basée sur l’émission et la réception d’un message dans le spectacle. À cet égard, il existe des fonctions réciproques d’acteurs et de spectateurs dans l’événement théâtral. Ceci signifie que la distinction entre la production et la réception est tout simplement considérée comme une « distinction pédagogique ».

Le langage du théâtre dans sa production et/ou sa réception fonctionne dans un contexte d’expérience sociale partagée. Dans cette perspective, Helbo parle de « codes de spectacle (conventions spécifiquement applicables au spectacle, au genre, à la période historique), de codes généraux (linguistiques, idéologiques/culturels, perceptuels), et de codes mixtes (codes généraux fonctionnant dans un contexte spécifique de spectacle) » .Néanmoins, dans la démarche sémiologique d’Helbo tout comme dans ce travail, le privilège est accordé au dépassement de la division précédemment mentionnée, pour aboutir à ce qu’il nomme « l’énonciation collective » et la « notion d’observateur actant ».

Ces concepts dépassent le modèle de la communication linéaire évoqués par Mounin, pour souligner que les participants dans un phénomène théâtral sont impliqués dans le processus de création collective ou de l’énonciation collective sous des normes culturelles spécifiques. Dans ce processus, l’observateur représente une fonction spécifique, l’une des conditions de l’existence de l’énoncé spectaculaire. La notion de l’observateur actant « raffine considérablement l’analyse de l’identification initiée par Brecht », notion qui a été incorporée ou prolongée dans le théâtre thérapeutique de la même manière que le processus de co-création. Ce qui est central dans l’application de la sémiologie théâtrale dans cette thèse, c’est le postulat selon lequel le destinataire d’aujourd’hui deviendra le destinateur de demain.

À la fin de cette étude, nous montrons (sans chercher une reproduction du modèle occidental), que le théâtre thérapeutique est pratiqué au Cameroun. L’utilisation des techniques théâtrales favorise le bien-être des participants et contribuent au changement à tous les niveaux de la vie. Cette approche est orientée vers la communauté et par conséquent constitue un paradigme thérapeutique à visé communautaire nommé « théâtre communautaire à visé thérapeutique ». Considéré comme tel, ce paradigme peut être utilisé concomitamment dans le cadre de la santé mentale et de la santé communautaire au Cameroun. Dans ce cas, il sert comme une modalité thérapeutique intégrée et établit un lien entre le spectacle vivant, la santé en générale et la santé mentale en particulier.

Therapeutic theatre is an improvisational method of performing arts that heightens participants' sensitivity to improve their ability to communicate feelings and thoughts verbally and by gestures. As a hybrid form, it functions in the same way as theatre for social change (TFSC) wherein theatre praxis is used to change participants or communities and promote wellbeing. TFSC is seen as an articulated intention to use theatre praxis in the service of change (social, mental, and emotional). Tradition has held these practices distinctly for the past decades. This thesis however, contends that despite these historic perceptions, there is a paradigm where these forms, previously viewed as distinctly different, come together in a spectacle that is therapeutic and applied to mental health in hospitals and community settings in Cameroon. This hypothetical case is examined under the general topic: ‘Towards the development of a therapeutic theatre in Cameroon: investigating its practice and reception through a cross-case evaluation.’ This thesis is based on the analysis of three TFSC/therapeutic theatre productions from the same practitioner: The Boomerang, Ndop and SOS Village Mbalmayo workshop productions respectively.

The research is inserted under theoretical considerations of theatre semiology and particularly, André Helbo's semiotic concepts. Developed from pragmatics, this method of theatre semiology focuses on the manner in which a message is sent and received. In this respect, there are reciprocal functions of actor and spectator in the theatrical event. From this, semiology is applied to understand the theatrical phenomenon in its entirety: production and reception. This implies, the division between production and reception is viewed as “a pedagogical distinction” only. Privilege in this thesis therefore is given to the surpassing of the aforementioned division to what he terms “enunciating collective” (co-creation process), and the “notion of the observer actant”.

These concepts go beyond the linear form of communication in theatre evoked by Mounin to highlight that the participants in a theatrical phenomenon are involved in a collective creation process or enunciating collective under specific cultural norms, and the observer represents a specific function, one of the conditions of existence of the performance utterance (l’énoncé spectaculaire). The notion of the observer actant in effect “refines considerably the analysis of identification initiated by Brecht” and which has been incorporated or prolonged in therapeutic theatre in the same way as the process of co-creation. Vital therefore to the application of theatre semiology in this work is the postulate that the theatrical phenomenon is an act of interaction wherein today’s receiver can be transformed into tomorrow’s sender.

At the end of this research, it is proven that without seeking a reproduction of a Western form, "therapeutic theatre" is practised in Cameroon. The utilisation of theatrical techniques fosters participants’ wellbeing and enhance change at all levels. It is community centred thereby constituting a community-based therapeutic paradigm which is named "community-based therapeutic theatre". Understood as such, this paradigm can be used concomitantly in cases of mental and community health in Cameroon. In this case, it serves as an integrated therapeutic modality and bridges the gap that exists in the health domain in general and mental health in particular.


Doctorat en Information et communication
info:eu-repo/semantics/nonPublished

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Posth, Carlotta Lea. "Persuasionsstrategien im vormodernen Theater (14.–16. Jh.). Eine semiotische Analyse religiöser Spiele im deutschen und französischen Sprachraum." Thesis, Paris 3, 2020. http://www.theses.fr/2020PA030009.

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Le théâtre religieux, devenu un média de masse dans les villes européennes entre le XIVe et le XVIe siècle, est depuis toujours un défi pour la recherche comparatiste. Malgré les nombreuses similitudes qui existent entre les jeux de différentes zones linguistiques, aucun lien génétique entre eux n’a pu être prouvé. La présente thèse se propose d’ouvrir de nouvelles perspectives à la recherche comparatiste en changeant d’approche méthodologique. Afin de dégager les stratégies de persuasion du théâtre religieux, elle identifie son répertoire sémiotique, consistant en signes linguistiques, iconiques, sonores (musique et bruits) et gestuels. Bien que les représentations historiques soient essentiellement inaccessibles à l’analyse, la « représentation imaginée », inscrite comme potentialité dans les signes transmis par les manuscrits, peut être reconstruite. À l’aide de méthodes provenant majoritairement de la linguistique textuelle, cette étude décrit certaines stratégies de persuasion dans une sélection représentative de Passions et de jeux eschatologiques germanophones et francophones. Elle identifie des lieux argumentatifs (topoï) qui structurent les pièces. Un chapitre est consacré au topos qui inscrit dans une certaine matière un scénario menaçant qui souligne l’importance et l’urgence de la représentation. La comparaison diachronique montre comment des stratégies de diffamation, employées aux XIVe et XVe siècles pour caractériser et diaboliser le collectif des juifs, sont appliquées aux protestants au XVIe siècle. L’évocation d’autorités permettant aux jeux de s’auto-légitimer est abordée dans un autre chapitre. L’analyse des différentes techniques d’évocation permet non seulement de décrire l’usage rhétorique et performatif des autorités, mais aussi de mettre en évidence différents concepts d’autorité. Enfin, une dernière partie montre comment le théâtre construit et perpétue des stéréotypes qui interpellent le public de façon tant rationnelle qu’émotionnelle, entraînant des processus d’inclusion et d’exclusion
Religious drama, which developed into a mass medium in European cities between the 14th and the 16th century, has always been a challenge for comparative research. Despite the many similarities between plays in different linguistic areas, no direct textual relationship between them could be proven. This dissertation aims to open up new perspectives for comparative research by changing the methodological approach. In order to identify the persuasion strategies of religious drama, this work considers the theatrical semiotic repertoire, consisting of language, image, sound (music and noise) and gesture. Although historical representations are essentially inaccessible to analysis, the ‘imagined representation,’ inscribed as potentiality in the signs transmitted by the manuscripts, can be reconstructed. Using methods mainly from textual linguistics, the study describes some persuasion strategies present in a representative selection of German and French Passion plays and eschatological plays. It identifies argumentative places (topoi) that structure the plays. A chapter is devoted to a topos, which recasts a certain subject in a threatening light. The plays use this in order to underline the relevance and urgency of theatrical representation. The diachronic comparison shows how defamation strategies, used in the 14th and 15th centuries to characterize and demonize the Jews as a collective, were applied to Protestants in the 16th century. Another chapter examines how the plays use authority as a topos to legitimize themselves. The analysis of the different evocation techniques makes it possible not only to describe the rhetorical and performative use of authorities, but also to highlight distinct concepts of authority. Finally, the last part shows how theatre builds and perpetuates stereotypes that affect the audience in both rational and emotional ways, leading to processes of inclusion and exclusion
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Workman, Abigail E. "Artist Descending a Staircase: Blending Radio and Theatre in Production." Miami University Honors Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1114209663.

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Books on the topic "Theater – Semiotics"

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Fischer-Lichte, Erika. The semiotics of theater. Bloomington: Indiana University Press, 1992.

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The semiotics of performance. Bloomington: Indiana University Press, 1993.

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Eversmann, Peter. De ruimte van het theater. Amsterdam: [Universiteit van Amsterdam], 1996.

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Theatre semiotics: Signs of life. Bloomington: Indiana University Press, 1990.

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Marx, Peter W. Theater und kulturelle Erinnerung: Kultursemiotische Untersuchungen zu George Tabori, Tadeusz Kantor und Rina Yerushalmi. Tübingen: Francke, 2003.

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F, Veltruský Jarmila, and Hoskovec Tomáš, eds. An approach to the semiotics of theatre. Brno: Masaryk University, 2012.

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Segre, Cesare. Schriften zu Literatur und Theater. Tübingen: Niemeyer, 2004.

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Toro, Fernando de. Theatre semiotics: Text and staging in modern theatre. Toronto: University of Toronto Press, 1995.

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Carole, Hubbard, ed. Theatre semiotics: Text and staging in modern theatre. Toronto: University of Toronto Press, 1995.

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A semiotics of the dramatic text. London: Macmillan, 1994.

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Book chapters on the topic "Theater – Semiotics"

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Yamaguchi, Masao. "Cosmological Dimension of the Japanese Theater." In Foundations of Semiotics, 219. Amsterdam: John Benjamins Publishing Company, 1991. http://dx.doi.org/10.1075/fos.8.10yam.

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Toro, Fernando de. "PREFACE." In Theatre Semiotics, 1–2. Toronto: University of Toronto Press, 1995. http://dx.doi.org/10.3138/9781442682597-004.

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Kleberg, Lars. "The Semiotics of Theatre." In Theatre as Action, 40–49. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22867-6_5.

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Pladott, Dinnah. "Semiotics of the theatre." In The Prague School and Its Legacy, 289. Amsterdam: John Benjamins Publishing Company, 1988. http://dx.doi.org/10.1075/llsee.27.28pla.

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Melrose, Susan. "Theatre and Language." In A Semiotics of the Dramatic Text, 36–64. London: Macmillan Education UK, 1994. http://dx.doi.org/10.1007/978-1-349-23116-4_3.

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Bassnett, Susan. "Towards a Theory of Women's Theatre." In Semiotics of Drama and Theatre, 445. Amsterdam: John Benjamins Publishing Company, 1985. http://dx.doi.org/10.1075/llsee.10.20bas.

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Banerji, Arnab. "The materialist semiotics of Bengali group theatre." In Contemporary Group Theatre in Kolkata, India, 157–59. London; New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429261954-14.

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Colleran, Jeanne. "Five Political Crises: The New Semiotic Environment." In Theatre and War, 13–27. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137006301_2.

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Van Kesteren, Aloysius. "Theatre and Drama Research; an Analytical Proposition." In Semiotics of Drama and Theatre, 19. Amsterdam: John Benjamins Publishing Company, 1985. http://dx.doi.org/10.1075/llsee.10.03van.

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Dinu, Mihai. "The Algebra of Scenic Situations." In Semiotics of Drama and Theatre, 67. Amsterdam: John Benjamins Publishing Company, 1985. http://dx.doi.org/10.1075/llsee.10.05din.

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Conference papers on the topic "Theater – Semiotics"

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Zhanguzhinova, Meruyert, Bagdat Akylbekova, Sabit Kurmanbekov, Nazerke Kumargaliyeva, and Nazerke Kairbekkyzy. "Innovative Trends in Ethno-Costumology in the Modern Theater Process." In 15th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2022. http://dx.doi.org/10.22616/reep.2022.15.023.

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This article examines the topicality of ethno-costumes in the context of the modern theatrical process. The aim of the study is to conduct a theoretical and methodological study of the problems of ethno-costumeology in the context of the modern theatrical process. The scientific and theoretical methodology of the research include the theoretical foundations of ethno-costumes, concepts of the modern theatrical process, methodological aspects of ethno-costumes, innovative directions of ethno-costumes, artistic principles of creating an ethnocostume. Scientific and theoretical methods were used: socio-cultural, historical, semiotic, ethnographic, formal-stylistic analysis, ekphrasis, attribution of an ethnic costume, observation, interpretation of an ethnic costume in the theatrical process. The practical methods: research of innovative technologies in the design of ethnic costume in the context of the modern theatrical process, which make up various types of 3D modelling and visualization. The result of the study is: the application of the obtained scientifically grounded methodological foundations in the method of designing an ethnic costume in the production process of the Kazakh Drama Theater named after S. Seifullin in the city of Karaganda. The significance of the results is in the study and identification of methodological aspects in innovative areas of ethno-costumology within the framework of the modern theatrical process.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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