Journal articles on the topic 'Theater – Semiotics'
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1
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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Balme, Christopher B. "Cultural Anthropology and Theatre Historiography: Notes on a Methodological Rapprochement." Theatre Survey 35, no. 1 (May 1994): 33–52. http://dx.doi.org/10.1017/s0040557400002544.
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After a century of carefree source research conducted against the background of positivist objectivism, theatre historiography now finds itself in the throes of a methodological paradigm shift. Quite independent of its historical disciplinary affiliations, whether as an extension of literary criticism of the various national literatures or as a subsidiary of the historical sciences, theatre historiography is no longer able to resist engagement with fundamental and increasingly complex methodological debates. Particularly in North America there has been a broad discussion on the crisis of traditional, positivist theatre history. The result has been to open up theater historiography to other approaches such as semiotics and diverse theories and methodologies of a poststructuralist provenance. Despite this intensifying and often broad-ranging methodological debate there have been hitherto hardly any attempts to bring theatre history into a dialogue with historical anthropology or ethnohistory, both of which are strongly influenced by the methodologies of cultural anthropology. The deficit is all the more remarkable as these areas have ignited a veritable explosion of interest amongst historians and ethnologists which has transcended the narrow disciplinary borders of both fields of scholarship.
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Alter, Jean, and Patrice Pavis. "Review Essay. Theater Semiotics at a Crossroads: On a Book by Patrice Pavis." boundary 2 18, no. 1 (1991): 238. http://dx.doi.org/10.2307/303390.
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Curseen, Allison S. "Black Girlish Departure and the “Semiotics of Theater” in Harriet Jacobs's Narrative; or, Lulu & Ellen: Four Opening Acts." Theatre Survey 60, no. 1 (December 21, 2018): 91–121. http://dx.doi.org/10.1017/s0040557418000510.
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Harriet Jacobs'sIncidents in the Life of a Slave Girlwas edited and introduced to its antebellum reading public in 1861 by the white abolitionist Lydia Marie Child. Nearly a century and a half later, another Lydia once again brings Jacobs's story to the public attention asHarriet Jacobs, a stage play by critically acclaimed African American playwright Lydia R. Diamond. Chicago's Steppenwolf Theatre commissioned and debuted the play in 2008 as part of its youth program. Regarded as Diamond's best work, the play ends with Jacobs, recently liberated from her hiding space of seven years, declaring to the audience, “But it was above Grandmother's shed, in the cold and dark, in the heat and solitude, that I found my voice.” This aspirational claim to an unshackled black girl voice reverberates a twenty-first-century renewal of black women artists, scholars, and activists committed to recovering, proclaiming, and celebrating black girls. With subsequent back-to-back productions in 2010 by the Underground Railway Theater and Kansas City Repertory Theatre (KCRep), the play heralds the millennial energy of both the 2013 #blackgirlmagic social-media campaign and the 2014 formation of black girlhood studies (BGS), an academic field that prioritizes “a rigorous commitment to locating the voices of black girls,” and elucidating the “local” intersections of race, gender, and other areas in which “black girls’ agency comes into view.” It is precisely this energetic recovery of a black girl voice on the contemporary stage—a Harriet for the new millennial—that makesHarriet Jacobsso attractive. Describing her vision for the KCRep production, director Jessica Thebus stated: “Our task as I see it, today, is to tell the story with the clarity and energy of Harriet Jacobs's voice with her humor, with her intellect, and consciousness.” And promoting Wayne State's 2017 production, Dale Dorlin writes:For director Billicia Charnelle Hines, Harriet Jacobs is not a slave play, but a prime example of a heroine's journey. “This is an adventure story,” says Hines, “about a heroine who, no matter what, was determined to be free. That's someone I look up to. … I want people to think of her as a hero.”Hines's focus on the hero and adventure genre echoes the comments of Hallie Gordon, director of the original Steppenwolf production, which located the play within another genre of Western subject formation, the bildungsroman; for Gordon, “Harriet Jacobsis about the strength of this one girl who turns into a woman in front of our very eyes.” Critic Nancy Churnin, lauding the play's accessible rendering of a young female who finds in dismal confinement not only freedom but her voice, titled her 2016 review of the Dallas-based African American Repertory Theater's production, “A Slave Tale with Echoes of Anne Frank.” Resonant with Diamond's own desire for “Harriet Jacobs … to exist, theatrically, alongside Anne Frank and Joan of Arc,” Churnin's title presumably refers toThe Diary of Anne Frank,Frances Goodrich and Albert Hackett's 1955 stage adaptation of Anne Frank'sDiary of a Young Girl(first performed at the Cort Theatre on Broadway). Still, considering that Jacobs lived well before Frank, the comparison is curious. Reflected in that curiousness is something of the irony of lauding a portrait of historical black girlhood that obscures the minor complexities of a “slave tale” or “slave play.” The comparison effectively fits the black girl into a role of heroic girl power shaped by a history of white girlhood, in which the slave girl, coming too early, can be imagined only anachronistically at best.
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Pimonov, V. I. "MIMICRY AND THEATRICALITY: A FORMAL MODEL." Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no. 87 (2022): 83–90. http://dx.doi.org/10.37313/2413-9645-2022-24-87-83-90.
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Object of the article: mimicry and theatricality. Subject of the article: difference and similarity between mimicry and theatricality. Purpose of the research: creating the semiotic model of transformation of mimicry into theatricality. Results: in mimicry, three meta-roles are at play: the mimic, the dupe and the model. The mimic imitates signals, emitted by the model. The dupe, being an enemy of the mimic, is thus deceived by the mimic's signals. Mimicry can be expressed by the scheme: “A” acts in front of “B” in the role of “C”, where “A” is the mimic, “B” is the dupe - a victim of deception, “C” is the model. Mimicry formally resembles theatricality, where "A" is the character of the play (functionally corresponding to the mimic), "B" is the character-spectator, corresponding to the dupe (victim of deception), "C" is another character, functionally corresponding to the "model". Even so, the difference between signals in mimicry and signs in theater is crucial. Field of application: semiotics, literary studies. Conclusions: The mimicry-to-theatricality transformation requires a real or imaginary border between the space of everyday life and “marked” territory (museum, houseof-worship, stage) that serves as a stop-signal inhibiting (or preventing) automatic actions.
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Куклинская, М. Я. "Score and Musical Performance: Dynamics of Interaction on the European Opera Stage of the 20-Early 21 Centuries." Музыкальная академия, no. 1(769) (March 29, 2020): 110–21. http://dx.doi.org/10.34690/39.
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Статья посвящена проблеме взаимодействия оперной партитуры и спектакля в музыкальном театре XX-XXI веков. Автор использует методы компаративистики и семиотики, акцентируя внимание на понятии «оперный текст». В статье исследуется типы взаимоотношений нотного и сценического текстов, которые автор условно определяет как постмодернистский и постдраматический. Анализируя фрагменты оперных партитур, автор приходит к выводу, что интонационный материал составляет лишь часть оперного текста и не всегда обусловливает содержание спектакля. Это становится особенно явным в постмодернистский период. Современная сценическая практика, равно как и достижения музыкальной и театральной науки позволяют рассматривать партитуру как семиотический знак, в котором обозначаемое и обозначающее регулируется режиссером, актером и зрителем. При этом режиссерская деятельность, актерское искусство и активное зрительское восприятие в процессе раскодирования партитуры делает все эти компоненты составной частью оперного текста. В статье автор анализирует ряд спектаклей, доказывая справедливость данного утверждения. The article is devoted to the problem of interaction of Opera score and performance in musical theater of 20-21 centuries. The author uses the methods of comparative and semiotics, focusing on the concept of “opera text”. The paper is concerned with two main types of interaction between musical and stage texts, which the author conditionally defines as postmodern and postdramatic. Analyzing fragments of opera scores, the author comes to the concLusion that intonation materiaL is onLy part of the opera text and does not aLways determine the content of the performance. This becomes especiaLLy evident in the postmodern period. Modern stage practice, as weLL as the achievements of musicaL and theatricaL science, aLLows us to consider the score as a semiotic sign, in which the signified and denoting is reguLated by the director, actor and audience. At the same time, directing, acting and active audience perception in the process of decoding the score makes aLL these components an integral part of the opera text. In the articLe, the author anaLyzes a number of performances, proving the vaLidity of this statement. The article is devoted to the problem of interaction of Opera score and performance in musical theater of 20th—21st centuries. The author uses the methods of comparative and semiotics, focusing on the concept of “opera text”. The paper is concerned with two main types of interaction between musical and stage texts, which the author conditionally defines as postmodern and postdramatic. Analyzing fragments of opera scores, the author comes to the conclusion that intonation material is only part of the opera text and does not always determine the content of the performance. This becomes especially evident in the postmodern period. Modern stage practice, as well as the achievements of musical and theatrical science, allows us to consider the score as a semiotic sign, in which the signified and denoting is regulated by the director, actor and audience. At the same time, directing, acting and active audience perception in the process of decoding the score makes all these components an integral part of the opera text. In the article, the author analyzes a number of performances, proving the validity of this statement.
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Quinn, Michael L. "‘Reading‘ and Directing the Play." New Theatre Quarterly 3, no. 11 (August 1987): 218–23. http://dx.doi.org/10.1017/s0266464x00015190.
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A director's ‘reading’ of the play – the hierarchical implications of which were discussed by Peter Holland in the preceding article – normally begins with just that: a reading, of the printed or typewritten text. Here. Michael Quinn discusses the various factors through which this initial acquaintance becomes a stage production carrying the stamp of the resulting perceptions – some of which go unrecognized, as much by the director as by those who evaluate his work. These may vary from preconceptions (or a lack of them) about the writer himself to the prevailing modes of the director's own work, or from such imponderables as the ‘lingering’ effect of objects on stage whose original function has been fulfilled to the ‘intertextuality’ always present when a play has a previous production history. The author argues not for the impossible elimination of such influences, but for their proper recognition, so that the director may be better aware of the reasons behind the choices he makes in translating a ‘reading’ into a production. Michael L. Quinn has previously published essays on Brecht and Roman Jakobson, and is currently serving as a play-reader for the San Francisco Magic Theater while preparing his doctoral dissertation on the theatre semiotics of the Prague school.
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Markelova, Tatyana V., and Nikolay V. Popkov (Glinsky). "Concepts SPIRIT and SOUL in Linguo-Semiotics of Theatricl Art." RUDN Journal of Language Studies, Semiotics and Semantics 13, no. 3 (September 30, 2022): 608–29. http://dx.doi.org/10.22363/2313-2299-2022-13-3-608-629.
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The study is devoted to the problem of the correlation of linguistic and extralinguistic operations in the creative workshop of an outstanding linguistic persona, the successor of the realistic traditions of Russian and world theater, the great reformer of theatrical art, actor, director, teacher, theatrical thinker K.S. Stanislavsky. We chose the iconic sign-words of his “system” - spirit and soul - for analysis in all the versatility of their meaning considered in compliance with the semiotic and semantic theory of L.A. Novikov. The study searches for the code content of words in the system and provides the practice of their use by K.S. Stanislavsky, conditioned, firstly, by censorship (an extralinguistic factor), secondly, by the lexicographic practice, and thirdly, by the author’s attitude to the value of the word-sign in the process of its sigmatic actual use. The analysis of the semantic structure of the words spirit and soul (as well as some of their derivatives) in the semiotics of theatrical language is based on the description of these constants as words of the cultural code, as signs of the Russian mentality based on the theory of external, internal sign and the meaning which makes it possible to correlate the word and image. In the paper we pay much attention to the characterization of the lexemes spirit and soul as pragmemes from the point of the value core contained in them. The paper describes the occurring and development of evaluative connotations in the lexemes spirit and soul as part of the concepts developing; the study makes attempts to prove the preferred use in the complex genre of presentation of the “system” by K.S. Stanislavsky. The study is based on a large empirical material collected from the works of K.S. Stanislavsky - “My life in art”, “The work of an actor on himself” (with various additions and various developments of the subject), which illustrates the multidimensionality and multilayeredness of the concepts of spirit and soul , as well as illustrates the values of the phraseological environment, their symbolic nature in the system of theatrical language, and therefore, the language of theatrical art, their relationship and, on the contrary, “rejection” from each other.
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Braider, Christopher. "Image and Imaginaire in Molière's Sganarelle, ou le cocu imaginaire." PMLA/Publications of the Modern Language Association of America 117, no. 5 (October 2002): 1142–57. http://dx.doi.org/10.1632/003081202x60242.
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The miniature portrait in Molière's Sganarelle, ou le cocu imaginaire is a memento the romantic heroine preserves in token of her absent love. Fainting under the strain of resisting her tyrannical father's efforts to compel her to marry another man, she loses the miniature, which falls into the hands of Sganarelle's wife. Mme Sganarelle's possession of the portrait provokes jealous suspicions in Sganarelle, and the comic fallout challenges the classical theory of images and the theory of signs to which classical culture assigns images. More specifically, in subjecting the portrait to the thingly logic of comic theater, the miniature's circulation explodes the dualist premises on which French classicism depends. Analysis of the farce's plot mechanics thus occasions critical meditations on classical semiotics (in Pascal's Pensées and Arnauld and Nicole's Logique de Port-Royal), classical aesthetics (in the writings of Piles), royal portraiture, and classical theology.
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Veltruský, Jiří. "Semiotics and Avant-garde Theatre." Theatre Survey 36, no. 1 (May 1995): 87–95. http://dx.doi.org/10.1017/s0040557400006517.
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This article deals with a very short period in the long history of the semiotic conception of theatre. It concentrates on the relationship between the theatrical avantgarde and the theories developed during some twenty years in Czechoslovakia, by Otakar Zich on the one hand and the members of the Prague Linguistic Circle on the other. Broadly speaking, this is the Prague School theory of theatre. A Polish scholar has called it “semiotics of theatre in statu nascendi.” This designation is no doubt pertinent as far as the recent development of the discipline is concerned; its more remote past still remains largely unexplored. But another commentator went much further, claiming that until 1931, the year when Zich's treatise on the theatre and Mukařovský's article on Chaplin's City Lights appeared, “dramatic poetics—the descriptive science of the drama and theatrical performance—had made little progress since its Aristotelian origins.” In fact, semiotics is a very old discipline and the semiotic interpretation of the theatre was not invented in Czechoslovakia between the two World Wars.
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van den Berg, Klaus. "The Geometry of Culture: Urban Space and Theatre Buildings in Twentieth-Century Berlin." Theatre Research International 16, no. 1 (1991): 1–17. http://dx.doi.org/10.1017/s0307883300009986.
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In her 1983 book, Semiotik des Theaters, Erika Fischer-Lichte referred to theatre as part of ‘die Geometrie der Kultur’, a network of relationships materialized in space that symbolizes cultural experience. The concept of the geometry of culture may enable us to show how, in an urban space, different strands of human activities find their expression in the outline of urban space. Lewis Mumford demonstrates in The City in History that political programmes, economic interests, and cultural concepts influence the city's organization as well as the functions which individual buildings take in the urban environment. Cultural historians and semioticians such as Mary Henderson, Monika Steinhauser, Michael Hays, and Marvin Carlson have adopted this perspective for their investigations of the history of theatre in various metropolitan areas. For example, Henderson studies the relationship between the theatres and the financial district in New York City; Michael Hays and Monika Steinhauser analyse particular urban monuments, such as the Lincoln Center in New York and the Paris Opera. Marvin Carlson analyses how theatre buildings have been integrated historically as public monuments in various urban settings. Within the context of such studies I will examine the spatial and aesthetic re-alignments that World War II forced upon the integration of theatre buildings in Berlin, taking as case studies four major theatres: the Theater am Schiffbauerdamm, the Deutsches Theater, the Schillertheater and the Volksbühne.
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Bassnett, Susan. "The Semiotics of Theater. By Erika Fischer-Lichte. Translated by Jeremy Gaines and Doris L. Jones. Bloomington and Indianapolis: Indiana University Press, 1992. Pp. vii + 336. £40." Theatre Research International 19, no. 2 (1994): 182–83. http://dx.doi.org/10.1017/s0307883300019623.
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Proskuriakova, O. "Make-up as a space of semiotic communication." Culture of Ukraine, no. 78 (December 23, 2022): 38–44. http://dx.doi.org/10.31516/2410-5325.078.04.
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The purpose of the article is to study the peculiarities of semiotic communication in make-up art.
The methodology. New methodological principles of make-up training, which are based on the intersection of cultural and art history approaches, will be proposed. Particular attention is paid to the semiotic study of make-up.
The results. Having studied the construction and functioning of make-up as a symbolic system, it has been proven that make-up art has a complex structure of semiotic communication. It can be traced in its symbolic units (color, line, etc.) and their interaction, as well as in the multi-layered structure of reference and recipient, which is most vividly reflected in theatrical make-up.
Thus, the space of semiotic communication of playing can be considered in two main vectors: 1) communication between signs and symbolic structures in the space of the make-up scheme; 2) communications between signs composing the semiotic space of makeup from the external environment.
Therefore, to solve the problems of semiotic communication of make-up art, sufficient attention should be paid both to the detailed processing of make-up schemes and the question of authorship in the context of dialogue, the multiplicity of interpretations, contexts and meanings.
The scientific novelty. Along with studies of the semiotics of the theatre, a separate direction of research is proposed — the semiotics of make-up. This will provide new opportunities for researchers and experts in the context of the semiotic understanding of culture and make-up art in general.
The practical significance. The results of the research can be used in the scientific, creative and pedagogical activities of specialized educational institutions, as well as by directors-producers of performances, theatrical programs, actors and make-up artists involved in these productions to solve theoretical and practical tasks.
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Finney, B. H. "Theatre Semiotics: Signs of Life." Modern Language Quarterly 51, no. 1 (January 1, 1990): 87–90. http://dx.doi.org/10.1215/00267929-51-1-87.
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Hutcheon, Linda. "Interdisciplinary Opera Studies." PMLA/Publications of the Modern Language Association of America 121, no. 3 (May 2006): 802–10. http://dx.doi.org/10.1632/003081206x142896.
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I hold this truth to be self-evident: that an art form consisting of a literary text, a dramatic stage performance, and music should be studied in all its multimedia and “multimediated” dimensions (Kramer, Opera 25). Today I can make this statement with confidence because the academic study of opera indeed covers all those aesthetic bases, but that has not always been the case. So long as opera fell primarily within the domain of musicology, it was studied first and foremost as music alone. The fact that the music was written for a specific dramatic text was not deemed particularly significant. The very name given to that text betrayed a belief in its secondariness: the diminutive libretto. But things have been changing: in recent years, some musicologists have challenged the dominant positivistic historicism and formalism of their discipline; some have even looked to literary theory for inspiration, bringing new approaches to the music of opera through narratology (e.g., Abbate) or semiotics (e.g., Nattiez). But just as important for opening up the study of opera as an aesthetic and cultural form has been the attention of scholars working in other disciplines. To take but one example, Peter Rabinowitz's rhetorical narrative theory introduced new ways of thinking about opera as narrative, not only as drama and, more pointedly, not only as drama with the composer in the role of dramatist (Kerman). It was opera, not dance, for example, that became a focus for interdisciplinary studies; already multimediated, it attracted diverse lines of inquiry. To cite the title of David Levin's groundbreaking 1994 volume, we can now see “opera through other eyes.” (Musical theater too has been seen through other—especially literary—eyes, but that is not the focus of this piece [see, e.g., Most; Miller; Rabinowitz].)
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Sidorenko, Liliya S. "The cultural code and architectonics of the space of A. Ilichevsky’s novel «Newton’s Drawing»." Semiotic studies 2, no. 1 (June 7, 2022): 40–49. http://dx.doi.org/10.18287/2782-2966-2022-2-1-40-49.
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The present article deals with the interaction problem between human and time as exemplified in the novel of A. Ilichevskys novel Newtons Drawing. The aim of the present research work analysis of the literary text, its structural and compositional elements, artistic images from the authors concept regarding his / her personal perception and translation of the protagonists cultural code. The cultural signs, symbols and codes are synthetized in the text via artistic images. The writer creates a multidimensional space in the novel through the readers exposure into the spheres of culture, music, painting, theater, photography, references to other literary texts. The unified cultural of a literary work is created with the help of the focalization literary technique on the image of protagonists father. In the novel the readers come across the main character, Konstantin, searching for his significant parent, his father. The son reflects on his intimate memories regarding his father, his aesthetic preferences, his fathers creative works. These memories help the readers understand the complex essence of the protagonist, his intellectual and cultural values. Architectonics of the text is also created via paratextual relationships, that broaden the boarders of the novel as a separate text up to the cultural text level in terms of semiotics. The artistic space of the novel is filled with the cultural symbols of the past. It also includes intertextual elements of the purpose of the citys solid image creation via system or symbols sum in the novel, The head motif of the novel the search of the father via understanding his values, his life, as well as an attempt to find the protagonists own path, gain the main characters significance and penetrate into his cultural code.
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Ivashchenko, Iryna, and Victoriya Strelchuk. "Dychotomy of the phenomenal and semiotic bodies of the performer in the context of a theater without an actor." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 317–22. http://dx.doi.org/10.32461/2226-3209.2.2021.240112.
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modern theatrical art and to reveal the features of the phenomenal and semiotic body of the performer in theater performances without an actor. Research methodology. A synergetic method is applied, due to which the essence of the dichotomy of the phenomenal and semiotic body of the performer and the mechanism of its transformation in the process of transition from traditional theater to the theater without an actor is considered; a systemic method for analyzing the phenomenal and semiotic body of the performer as a manifestation of integrity in the unity of all connections and relationships; the method of comparative analysis, which contributed to the comparison of the ways of perception and understanding by the spectator of the semantic content of the stage performance in the traditional, puppet theater and theater without an actor, etc. Scientific novelty. The problems of theater without an actor are considered in the context of the theory of body dichotomy by B.S. Turner and the model of the alternation of the phenomenal and semiotic body of the performer in the post-dramatic theater E. Fischer-Lichte; the absence of actors as traditional components of the stage production of the play is theoretically substantiated; it was found that, despite the absence of performers, a theater without an actor is a unique phenomenon of modern theatrical art, realized due to the dichotomy of the phenomenal-semiotic nature of the actor's corporeality. Conclusions. The study revealed that the dichotomy of the phenomenal and semiotic body of an actor is a meaningful tool for studying the interpretation of various types of modern theater. Based on the analysis of theater performances without an actor ("Feng Shui in a theater without an actor" B. Bulatovic, A. Mustar and J. Šimenc, Slovenia, Ljubljana, Cultural Center "Španski borci", 2011, etc.) it was found that in the absence of the phenomenal body of the actor in the stage action, scenography and props become the material vehicle of the semiotic body. Destroying traditions and moving away from the "actor - spectator" attitude, depriving the viewer of an actor of a person, theatrical figures strive for contemplation, open new horizons for the theater, which can cause unusual sensations and feelings.
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Setiawan, Harry, Abdul Aziz, and Debby Kurniadi. "IDEOLOGI PATRIARKI DALAM FILM (SEMIOTIKA JOHN FISKE PADA INTERAKSI AYAH DAN ANAK DALAM FILM CHEF)." ANDHARUPA: Jurnal Desain Komunikasi Visual & Multimedia 6, no. 02 (August 28, 2020): 251–62. http://dx.doi.org/10.33633/andharupa.v6i02.3502.
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AbstrakFilm Chef yang beraliran drama – komedi ini dirilis pada tahun 2014 dengan menghasilkan US$45 Juta pada dua minggu penayangannya di bioskop seluruh Amerika dan masuk jajaran film box office dengan rating 7,3/10 versi IMDb. Film ini menghadirkan banyak interaksi antara ayah dan anak yang bisa menjadi acuan bagi orang tua dalam membangun interaksi terhadap anak. Interaksi karakter Carl (Ayah) dan Percy (Anak) yang menjadi subjek penelitian ini diulas dengan pendekatan semiotika John Fiske. Hasil penelitian ini tersaji pada tiga level analisis semiotika John Fiske yaitu level realitas yang digambarkan dengan interaksi karakter Carl dan Percy di ruang-ruang sempit dan padat pada area food truck “El Jefe” maupun area lain baik interior (dalam ruang) maupun exterior (luar ruang). Level representasi yang digambarkan dengan sudut pengambilan gambar (angle) dan komposisi yang membawa penonton untuk tetap terlibat dalam setiap interaksi antar karakter. Terakhir level ideologi patriarki yang menjadi temuan dalam penelitian ini bahwa ideologi patriarki yang dihadirkan dalam film ini bisa dijadikan acuan dalam membangun interaksi ayah dan anak sehingga anak tersebut tidak kehilangan sosok orang tuanya. Kata Kunci : interkasi sosial, patriarki, realitas, semiotika AbstractThis drama-comedy film, Chef, was released in 2014 with the US $ 45 million in two weeks of screenings in theaters across America and entered the ranks of box office films with a rating of 7.3/10 of the IMDb version. This film presents many interactions between father and son that can be a reference for parents in building interactions with their children. The interaction of Carl (Father) and Percy (Son) characters are the subjects of this study are reviewed by John Fiske's semiotic approach. The results of this study presented at three levels of John Fiske's semiotic analysis; the level of reality depicted by Carl and Percy's character interaction in narrow and dense spaces in the "El Jefe" food truck area and other areas both interior (inside) and exterior (outside room). The level of representation depicted by the camera angle and the composition that brings the audience to remain involved in every interaction between characters. Finally, the level of patriarchal ideology found in this study that the patriarchal ideology presented in this film can use as a reference in building the interaction of fathers and children so that the child does not lose the figure of his parents. Keywords: patriarchy, reality, semiotics, social interaction
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Carlson, Marvin. "Twice Have the Trumpets Sounded." Recherches sémiotiques 35, no. 2-3 (August 31, 2018): 115–29. http://dx.doi.org/10.7202/1051071ar.
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Probably no single aspect of the semiotics of performance is more critical than the conventionalized signals that inform the audience that they are entering or leaving the liminal world of performance, and that the signs they will receive between these two signals are to be interpreted not necessarily as they would be in everyday life, but according to the codes of the performance situation. A clear example of one familiar modern sign for the ending of the performance is, of course, the curtain call. Throughout the history of theatre, the ending of the performance has most commonly been signaled by visual means – the curtain call, the bringing up of the house lights, the lowering of the house curtain, the general dance of the performers. When we consider the various means by which the beginning of a performance is indicated, however, we find that a significant number of them are in fact not visual but sonic – the first, second and third music in Restoration theatre, the trumpet fanfares at Stratford (Ontario) the “trois coups” of the traditional French theatre, the traditional playing of “God Save the Queen” in British theatres, and Ellen Stewart’s ringing of the hand bell for years at La Mama. In certain cases, the semiotics of sound have been prioritized over those of sight for the sake of summoning audiences, but most often they are already assembled and so other dynamics are at work. This essay will consider some of the most important uses of sound in this particular semiotic function, that is, as a signal for the audience to experience various theatrical works with a performance-oriented consciousness.
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Fitzpatrick, Tim. "Stage Management, Dramaturgy and Spatial Semiotics in Shakespeare's Dialogue." Theatre Research International 24, no. 1 (1999): 1–23. http://dx.doi.org/10.1017/s030788330002023x.
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This article examines the ramifications of the hypothesis that encoded in the dialogue of Elizabethan and Jacobean theatre texts are precise indications for the actors as to then-entrance and exit points, and that such indications constitute a stage management system, a dramaturgical system and a system of spatial semiotics which might invest these movement patterns with thematic or semiotic significance. Such a suggestion, that we may be able to access a range of ‘spatial’ meanings from an understanding of original performance conditions, is likely to be viewed with some scepticism by Shakespearian scholars of a literary orientation, so strong is the word-based tradition of analysis and interpretation. Yet this is the suggestion that underlies this work: that, complementing the verbal signification of the texts there may also be a verbally inscribed spatial semiotic which provides an additional range of meanings—and that such possible semiotic functions ride upon pragmatic stage management patterns which governed entrances and exits and the rhythms of the original performance context. It is argued that when the texts are interrogated in this light they reveal precise, consistent and coherent traces of such systematic indications in regard to the onstage-offstage spatial relationships operating in performance.
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Shevtsova, Maria. "Sociocultural Analysis: National and Cross-cultural Performance." Theatre Research International 22, no. 1 (1997): 4–18. http://dx.doi.org/10.1017/s0307883300015893.
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It is well known that theatre semiotics follows the metamorphoses of theories of semiotics in general and, like them, draws on Charles Peirce and American pragmatism, Saussurean linguistics and the linguistics of the Prague Circle, Russian formalism and French structuralism. These currents converge in the theatre semiotics of the 70s, producing a methodology that is highly scientist, technical, self-reflexive and abstract. This type of theatre semiotics may no longer be an up-markettopic, nor is it stone-dead. Its fundamental principle of ‘abstract objectivism’, as Bakhtin/Voloshinov describe it, survives despite the greater flexibility provided by its attention to such areas as reception theory and theories of cultural systems. Its inclusion of reception theory acknowledged of the fact that spectators exist in the construction of semiosis. Ideas concerning cultural systems and, thus, primarily those concerning codes were used to indicate the importance of cultural contexts in the processes of signification.
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Rodiņa, Ieva. "Gaismu dramaturģija 21. gadsimta teātrī. Latvijas Nacionālā teātra izrādes „Asins kāzas” piemērs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 288–95. http://dx.doi.org/10.37384/aplkp.2021.26-1.288.
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The article is devoted to contemporary theatre’s aesthetic strategies, specifically researching the increase of the principle of visuality in the message of the performance. Both the theory of postdramatic theater introduced by the German theatre scholar Hans Thies Lehmann and the researches of various leading theatre semioticians emphasise the growing importance of visual elements (scenography, costume, actor’s body, etc.) in the structure of the production. The theatrical lighting score is relatively one of the least studied components of 21st-century theatre. In the semiotic sign system of the performance, the stage light can be perceived as an integral part of the space, introducing the dramaturgy of light as an important element of the performance message. The aim of the research is to define the meaning of light dramaturgy in 21st-century Latvian theatre. The object of the research is the new generation outstanding lighting artist Oskars Pauliņš (b. 1989) and his light score for Vladislav Nastavšev’s production “The Blood Wedding” (2016) at the Latvian National Theatre. The article tackles the main principles of light dramaturgy in the performance, based on the four parameters of stage lighting (intensity, colour, mode of distribution, movement/dynamics) as defined by the light artist and theorist Richard Pillbrow. The analysis of the light score proves that the stage light created by Pauliņš becomes an artistically sufficient element of the stage production that participates in the formation of the performance message.
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Bogatyrev, Pyotr. "Czech Puppet Theatre and Russian Folk Theatre." TDR/The Drama Review 43, no. 3 (September 1999): 97–114. http://dx.doi.org/10.1162/105420499760347351.
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This key historical and theoretical document connecting Czech and Russian puppet and folk theatres is translated into English for the first time. Bogatyrev opened a whole new area of semiotic studies.
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Prokopovych, L. V. "Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life." Науково-теоретичний альманах "Грані" 22, no. 1 (March 26, 2019): 57–67. http://dx.doi.org/10.15421/17198.
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The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.
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Burian, Jarka M., and Marvin Carlson. "Places of Performance: The Semiotics of Theatre Architecture." Theatre Journal 42, no. 3 (October 1990): 395. http://dx.doi.org/10.2307/3208100.
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Graham-White, Anthony. "Theatre Semiotics: Signs of Life by Marvin Carlson." Comparative Drama 25, no. 4 (1991): 396–97. http://dx.doi.org/10.1353/cdr.1991.0020.
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Elam, Keir. "‘Understand Me by My Signs’: on Shakespeare's Semiotics." New Theatre Quarterly 1, no. 1 (February 1985): 84–97. http://dx.doi.org/10.1017/s0266464x00001445.
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Keir Elam's study The Semiotics of Drama and Theatre, published in 1980. was the firstfull– length account of its subject in English. Here, he argues not only that semiotics canvaluably be employed in the study of Shakespeare, but that the playwright himself displays a sophisticated sense of the significance of signs– indeed, that Elizabethan culture was highly self-conscious, sometimes to the point of obsession, with the nature and practice of signification, both verbal and visual. Keir Elam illustrates his argument with examples from a wide range of Shakespeare's plays, also suggesting some tentative distinctions between the way in which signsare utilized in the various genres. Keir Elam. who teaches English in the University of Florence, delivered an earlier version of this paper at the Conference on Theatre Analysis held at Warwick University in May 1984
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Karamitti, M. "ENNOE IZMERENIE BUMAZHNOJ VOLSHEBNOJ SHKATULKI, ILI KAK STAVIT' PRIGOVSKIJ TEATR." Siberian Philological Forum 10, no. 2 (April 30, 2020): 67–77. http://dx.doi.org/10.25146/2587-7844-2020-10-2-43.
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The article traces the role of dramatic texts in the literary and artistic works of Dmitry Alexandrovich Prigov, and also analyzes the reasons for the non-embodiment of these works by specific theatre productions. It is established that there is a close connection between Prigov’s vision of the theater space and his ‘phantom’ installations, between the general performative project “DAP – a living classic” and the presence in the plays of a number of authorial hypostases. As a result, a set of techniques is described (chaotic polyphony, mingling with side note remarks, involving the public in action), defining a separate casket semiotic space in which the plot, logic, identity are strained to the limit and decompose in their very essence, which leads to the collapse of the space through which, by the power of the theatrical word and the performative beginning, a new not only aesthetic, but also physical dimension is being revived: transcendence is saturated with an amazing “scenic” palpability.
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Saltz, David Z. "From Semiotics to Philosophy: Daring to Ask the Obvious." Performance Philosophy 1, no. 1 (April 10, 2015): 95. http://dx.doi.org/10.21476/pp.2015.1124.
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From the late 1960s through the 1980s a steadily-expanding group of international scholars joined forces to develop a comprehensive and unified semiotic theory of theatre. The semiotic wave had largely subsided by the early 1990s, leaving in its wake a profound, and largely justified, scepticism about universal, essentialist, and ahistorical theoretical models. It is possible, however, to ask basic philosophical questions about the ‘nature’ of theatre and performance without falling into the trap of universalizing or essentializing what are, in fact, historically and/or culturally specific practices and biases. In this essay, I advocate an open-ended and dialogic process that characterizes the work of many contemporary philosophers, in both the analytic and continental traditions, and in particular those who have been inspired by the late-Wittgensteinian notion of philosophy as a kind of conceptual therapy.
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Stewart, Nigel. "Actor as Refusenik: Semiotics, Theatre Anthropology, and the Work of the Body." New Theatre Quarterly 9, no. 36 (November 1993): 379–86. http://dx.doi.org/10.1017/s0266464x00008277.
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‘Theatre’, Eugenio Barba has said, ‘is a possibility of shaping revolt’. Barba touched upon this belief in NTQ16 (1988), and he professed it again with considerable passion at the conclusion of the seventh public session of the International School of Theatre Anthropology (ISTA) in April 1992. Directed by Barba and hosted by the Centre for Performance Research (CPR), the ‘Brecon ISTA’ was held in two parts – Working on Performances East and West, a practical exploration at Christ College, Brecon, from 4 to 10 April, being followed by a conference on 10 and 11 April at Chapter Arts Centre, Cardiff, on Fictive Bodies, Dilated Minds, Hidden Dances. In the following exploration of the particular possibilities which theatre anthropology creates for revolt, Nigel Stewart, Lecturer in Theatre Studies at Lancaster University, considers Barba's direction of work in progress at the Brecon ISTA in terms of Derrida's and Kristeva's theories of the sign. Integral to this is an analysis of the relation between bios and logos – the ‘pre-expressive’ work of the body and the meanings which that work can produce – which is relevant to body-based performance theory and practice in general.
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Olsen, Christopher. "Theatre Audience Surveys: towards a Semiotic Approach." New Theatre Quarterly 18, no. 3 (August 2002): 261–75. http://dx.doi.org/10.1017/s0266464x02000349.
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Surveys are used to define an audience in a quantifiable way. Awareness of the typical gender, age, and income of their patrons, along with their rating of a theatre's facilities, help theatre producers to address an audience's needs. However, producers seldom explore the audience response to a specific performance – something that is difficult to quantify. Thus, the audience's interaction with the performance – whether with particular actors, the space configuration, or with fellow spectators – is neglected in favour of such demographics as age, income, and occupation. Christopher Olsen suggests that surveys handed out to audience members might benefit from a more qualitative approach based on semiotic analysis. He asked sixty professional theatres in the USA – ranging from major repertory institutions to small theatres targeting specific audiences – to send examples of recent audience surveys they have conducted. Using the surveys (of which the most extensive is reproduced in full), as a guide, he tabulates the most common questions asked, and offers examples of further survey questions guided by semiotic principles. Chris Olsen is currently an adjunct professor at Montgomery College and Shenandoah University in the Washington, DC, area. Having written his dissertation on the Arts Lab phenomenon in Britain during the late 1960s and early 1970s, he is now working on a book about the second wave of the Off-Off-Broadway movement in New York.
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El Ammari, Mohamed Thami. "From Structural Linguistics to Theatre Semiotics Prague School Contribution." Ansaq journal 3, no. 1,2 (October 2019): 94–105. http://dx.doi.org/10.29117/ansaq.2019.0092.
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McDonald, Cathy. "The semiotics of disguise in seventeenth‐century Spanish theatre." Journal of Literary Studies 1, no. 1 (January 1985): 57–77. http://dx.doi.org/10.1080/02564718508529743.
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Meerzon, Yana. "Introduction Theatrical semiosphere: Toward the semiotics of theatre today." Semiotica 2008, no. 168 (January 1, 2008): 1–10. http://dx.doi.org/10.1515/sem.2008.001.
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van der Merwe, A. P. "DRAMA AND THEATRE SEMIOTICS: ITS APPLICATION TO AFRICAN DRAMA." South African Journal of African Languages 11, sup1 (January 1991): 110–15. http://dx.doi.org/10.1080/02572117.1991.10586919.
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Pavis, Patrice. "Theatre Analysis: Some Questions and a Questionnaire." New Theatre Quarterly 1, no. 2 (May 1985): 208–12. http://dx.doi.org/10.1017/s0266464x00001573.
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One of the problems of applying semiotic techniques to theatre work has been a vocabulary which too often mystifies rather than clarifies the theatre experience for the non-specialist student. Patrice Pavis, in his work with students at the University of Paris III, has evolved a questionnaire about theatre performance which, while not in itself utilizing semiotic terminology, attempts to direct the respondents' attention to all the aspects of theatrical signification upon which it touches. In the following article, Patrice Pavis, whose major study of theatrical terminology, entitled Dictionnaire du Théâtre, was published by Editions Sociales in 1980, outlines the purpose of the questionnaire, and provides explanatory notes to the individual questions, outlining an approach on which many involved in theatre teaching may wish to comment and build.
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Nikolić, Jelena, and Uroš Nedeljković. "Semiological analysis of Polish theater posters." Issues in Ethnology and Anthropology 10, no. 1 (February 28, 2016): 113. http://dx.doi.org/10.21301/eap.v10.i1.6.
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Through the application of semiological analysis to theater posters made by two Polish authors, the paper uncovers signs, meanings, codes and specifics of the „Polish school of poster-making“ and contemporary Polish posters. Aside from this, I suggest a methodological framework for studying the issue of coding and shaping a theater poster as a culturally specific form of visual communication. The aesthetic and semiotic outlook of the Polish theater posters which were chosen is analyzed using the semiological method which highlights their differences and similarities. By pointing out the system of codes through the examples given here, a graphic designer is informed about the existence and the possibilities of a more systematic approach to shaping a theater poster.
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Alter, Jean, Herta Schmid, and Aloysius van Kesteren. "Semiotics of Drama and Theatre: New Perspectives in the Theory of Drama and Theatre." Poetics Today 7, no. 2 (1986): 355. http://dx.doi.org/10.2307/1772768.
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Foster, David William, Herta Schmid, and Aloysius Van Kesteren. "Semiotics of Drama and Theatre; New Perspectives in the Theory of Drama and Theatre." Rocky Mountain Review of Language and Literature 39, no. 4 (1985): 295. http://dx.doi.org/10.2307/1347482.
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De Vos, Jozef. "Marvin Carlson, Places of Performance. The Semiotics of Theatre Architecture." Documenta 10, no. 3 (April 21, 2019): 256–58. http://dx.doi.org/10.21825/doc.v10i3.10845.
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Kruger, Loren. "Places of Performance: The Semiotics of Theatre Architecture. Marvin Carlson." Modern Philology 88, no. 4 (May 1991): 485–87. http://dx.doi.org/10.1086/391919.
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