The semiotics of performance /
"In this brilliant book Marco De Marinis develops a systematic definition of performance in terms of text, a new theoretical object, which he sees as the result of treating theatrical performance as a material object, a mixture of old and new, of the "already said" and the "not y...
Saved in:
| Main Author: | |
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| Format: | Book |
| Language: | English Italian |
| Published: |
Bloomington :
Indiana University Press,
©1993.
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| Series: | Advances in semiotics
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| Subjects: |
MARC
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| 100 | 1 | |a De Marinis, Marco. | |
| 240 | 1 | 0 | |a Semiotica del teatro. |l English |
| 245 | 1 | 4 | |a The semiotics of performance / |c Marco De Marinis ; translated by Áine O'Healy. |
| 260 | |a Bloomington : |b Indiana University Press, |c ©1993. | ||
| 300 | |a viii, 266 pages : |b illustrations ; |c 25 cm | ||
| 336 | |a text |b txt |2 rdacontent | ||
| 337 | |a unmediated |b n |2 rdamedia | ||
| 338 | |a volume |b nc |2 rdacarrier | ||
| 490 | 1 | |a Advances in semiotics | |
| 500 | |a Translation of: Semiotica del teatro. | ||
| 504 | |a Includes bibliographical references (pages 237-266). | ||
| 530 | |a Also issued online. | ||
| 520 | 1 | |a "In this brilliant book Marco De Marinis develops a systematic definition of performance in terms of text, a new theoretical object, which he sees as the result of treating theatrical performance as a material object, a mixture of old and new, of the "already said" and the "not yet said." This permits him to view performance as an original combination within a textual structure of pre-existing codes and specific codes that are created anew with each performance and thus recognizable only by abduction."--Jacket. | |
| 505 | 0 | 0 | |t Introduction: Theater Or Semiotics |g (starting p. 1) -- |g 0.1 |t The Textual Analysis of Performance |g (starting p. 2) -- |g 0.2 |t From Structuralism to the Pragmatics of the Text |g (starting p. 3) -- |g 0.3 |t Enunciation, Intertextuality, and Reception |g (starting p. 4) -- |g 0.4 |t Textual Analysis as a Multidisciplinary Approach |g (starting p. 6) -- |g 0.5 |t Epistemological Limits |g (starting p. 9) -- |g 0.6 |t Semiotics and Theater |g (starting p. 10) -- |g 1 |t Dramatic Text and Mise-En-Scene |g (starting p. 15) -- |g 1.1 |t Reasons for a Misunderstanding |g (starting p. 15) -- |g 1.2 |t A Critique of the Conception of the Dramatic Text as a "Constant" or "Deep Structure" of Performance |g (starting p. 17) -- |g 1.3 |t Language and Metalanguage, Text and Metatext |g (starting p. 20) -- |g 1.4 |t Virtual Mise-en-Scene and Real Mise-en-Scene |g (starting p. 21) -- |g 1.5 |t The Irreversibility of Theatrical Transcoding |g (starting p. 26) -- |g 1.6 |t Toward a Definition of the Dramatic Genre |g (starting p. 30) -- |g 1.7 |t Dramatic Discourse |g (starting p. 34) -- |g 1.8 |t The Dramatic Text as "Instructions for Use" |g (starting p. 37) -- |g 2 |t The Performance Text |g (starting p. 47) -- |g 2.1 |t Performance as Text |g (starting p. 47) -- |g 2.2 |t Theatrical Performance: A Definition |g (starting p. 48) -- |g 2.3 |t Completeness and Coherence of the Performance Text |g (starting p. 56) -- |g 2.4 |t The Performance Text: Between Presence and Absence |g (starting p. 62) -- |g 2.5 |t The Double Heterogeneity of the Performance Text |g (starting p. 77) -- |g 2.6 |t Performance Texts Shorter or Longer than One Performance |g (starting p. 78) -- |g 2.7 |t Co-textual and Contextual Aspects |g (starting p. 80) -- |g 3 |t The Textual Structure of Performance |g (starting p. 83) -- |g 3.1 |t Multiple Systems and Single Systems |g (starting p. 83) -- |g 3.2 |t Degrees of Dynamism in the Textual Structure of Performance |g (starting p. 85) -- |g 3.3 |t Partial Structures and Macrostructures |g (starting p. 88) -- |g 3.4 |t Multiple Interpretations, Multiple Structures |g (starting p. 90) -- |g 3.5 |t Analysis/Reading/Criticism |g (starting p. 93) -- |g 4 |t Performance Codes and Theatrical Conventions |g (starting p. 97) -- |g 4.1 |t The Concept of "Code" in Relation to Theatrical Performance |g (starting p. 97) -- |g 4.2 |t Decoding, Comprehension, Interpretation |g (starting p. 98) -- |g 4.3 |t Classification according to Codes and Classification according to Expressive Material |g (starting p. 100) -- |g 4.4 |t Theatrical and Nontheatrical Meanings |g (starting p. 103) -- |g 4.5 |t Performance Codes (in the Strict Sense) |g (starting p. 104) -- |g 4.6 |t Theatrical Conventions |g (starting p. 106) -- |g 4.7 |t The Performance Text as an Example of Invention |g (starting p. 116) -- |g 5 |t Performance Text, Cultural Context, and Inter Textual Practices |g (starting p. 121) -- |g 5.1 |t The Performance Text in the General Text: The Cultural Roots of Codes and Conventions |g (starting p. 121) -- |g 5.2 |t Aesthetic and Nonaesthetic Codes: From Culture to Art and Back |g (starting p. 124) -- |g 5.3 |t Francastel: The Aesthetic Text as Montage of Cultural Objects |g (starting p. 126) -- |g 5.4 |t Types of Theatrical Intertextuality |g (starting p. 131) -- |g 6 |t Toward a Pragmatics of Theatrical Communication |g (starting p. 137) -- |g 6.1 |t The Performance Context |g (starting p. 137) -- |g 6.2 |t Communication in the Theater |g (starting p. 139) -- |g 6.3 |t The Kind and Degree of Communication in Performance |g (starting p. 142) -- |g 6.4 |t Theatrical Manipulation |g (starting p. 144) -- |g 6.5 |t Action/Fiction: The Performance Text as a Macro-Speech Act |g (starting p. 150) -- |g 6.6 |t Theater beyond Simulation and Negation |g (starting p. 154) -- |g 7 |t The Spectator's Task |g (starting p. 158) -- |g 7.1 |t The Current State of Research on Theatrical Reception |g (starting p. 158) -- |g 7.2 |t Research on Reception outside of Theater |g (starting p. 161) -- |g 7.3 |t The Model Spectator: "Closed" Spectators and "Open" Spectators |g (starting p. 165) -- |g 7.4 |t Theatrical Competence |g (starting p. 171) -- |g 7.5 |t Theatrical Genre as a Textual Type |g (starting p. 171) -- |g 7.6 |t Pragmatic Aspects of Theatrical Genres |g (starting p. 180) -- |g 7.7 |t Avant-Garde Theater as Metalinguistic Manipulation of the Performance Context |g (starting p. 182) -- |g 7.8 |t Grammaticality, Acceptability, and Appropriateness of the Performance Text |g (starting p. 184) -- |t Notes |g (starting p. 189) -- |t Bibliography |g (starting p. 237). |
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