Theatre is composed of a multitude of signifying systems that have a dual function: as literary practice and as performance practice. Fernando de Toro carefully considers the multiple and complex components which constitute the relationships between a text, its concretization as performance, and its reception by the audience in this translation and revision of his Semi3/4tica del teatro: Del texto a la puesta en escena. He focuses on discourse, textuality, semiosis, reception, actantial functions, and history; this comprehensive overview of the various semiotic approaches is placed in the context of modern European, North American, and Latin American theatre.
De Toro begins with an examination of theatre discourse as linguistic expression and as semiosis, and differentiates theatre discourse from other forms of literary discourse and performance. He then thoroughly explores the relationship between the dramatic text and the performance text. A chapter devoted to theatre semiotics establishes how signification functions in drama and performance, in terms of Charles Sanders Peirce's trichotomy (icon, index, symbol). Final chapters focus on theatre reception (the emitter and receptor); the actantial model, and how it has evolved; and a semiological reflection on the history of the theatre. Theatre Semiotics provides a thorough argument for the place and the necessity of semiotics within the interpretive process of theatre.
Authors
- Bibliography, etc. Note
- Includes bibliographical references
- Control Number Identifier
- CaOOCEL
- Dewey Decimal Classification Number
- 792/.014
- General Note
- Translation of: Semiótica del teatro : del texto a la puesta en escena Issued as part of the desLibris books collection
- ISBN
- 0802006345 9781442682597
- LCCN
- PN2041.S45
- LCCN Item number
- T6713 1995eb
- Modifying agency
- CaBNVSL
- Original cataloging agency
- CaOTU
- Physical Description | Extent
- 1 electronic text (xvi, 201 p.)
- Published in
- Canada
- Publisher or Distributor Number
- CaOOCEL
- Rights
- Access restricted to authorized users and institutions
- System Control Number
- (CaBNVSL)thg00600103 (OCoLC)288090938 (CaOOCEL)417587
- System Details Note
- Mode of access: World Wide Web
- Transcribing agency
- CaOTU
Table of Contents
- Contents 8
- Acknowledgements 12
- FOREWORD TO THE SPANISH EDITION 14
- FOREWORD 16
- PREFACE 18
- INTRODUCTION 20
- CHAPTER I: THEATRE DISCOURSE 22
- I. The Notion of Discourse 22
- II. Theatre Discourse 25
- A) Speaker/Hearer 25
- B) Enunciative Situation/Utterance 28
- C) Deixis/Anaphora 30
- III. Functions of Theatre Discourse 39
- A) Functions of Language in Theatre 39
- B) Functions of the Actor's Discourse 40
- IV. Specification of Theatre Discourse 41
- Notes 46
- CHAPTER II: TEXT, DRAMATIC TEXT, PERFORMANCE TEXT 52
- I. Text 53
- A) The Semiological View 53
- B) The Classical View 56
- II. The Dramatic Text 60
- A) Textual Function 60
- B) Stage Function 63
- III. Performance Text 65
- A) Production Text 65
- B) Performance Text 69
- Notes 76
- CHAPTER III: THEATRE SEMIOTICS 80
- I. Semiosis 80
- A) The Notion of Semiotics 80
- B) The Various Versions of Sign 81
- II. The Nature of the Theatre Sign 85
- A) Signs of Signs 86
- B) The Mobility of the Theatre Sign 87
- C) Redundancy of the Theatre Sign 88
- III. The Icon, the Index, the Symbol According to Peirce 90
- A) The Icon 90
- B) The Index 91
- C) The Symbol 92
- IV. The Icon, the Index, and the Symbol at Work in Theatre 93
- A) Iconic Function 93
- B) Indexical Function 96
- C) Symbolic Function 101
- V. Theatre Referentiality 103
- A) Referent/Reference 103
- B) Theatre Referentiality 104
- Notes 110
- CHAPTER IV: THEATRE RECEPTION 114
- I. Reception Theory 114
- A) Places of Indetermination 115
- B) Objectivization 115
- C) Actualization 116
- D) Concretization 116
- E) Horizon of Expectation 119
- II. Theatre Reception 121
- A) Mode of Production and Reception 121
- B) Directorial Concretization 123
- C) Spectatorial Concretization 125
- D) Concretization Process 128
- III. New Perspectives 133
- A) Object of Study 133
- B) Levels of Receptive Activity 134
- C) Methodology 138
- Notes 142
- CHAPTER V: TOWARDS AN ACTANTIAL MODEL FOR THEATRE 146
- I. Background 146
- II. The Actantial Model 148
- A) Subject/Object 149
- B) Sender/Receiver 149
- C) Helper/Opponent 150
- D) Actants, Actors, Roles 152
- E) Sequences 155
- Notes 158
- CHAPTER VI: THEATRE HISTORY AND SEMIOTICS 160
- I. General Background 160
- II. The Current State of Affairs in Historical Research 161
- III. Literary History in Latin America: One Example 167
- A) The Generational Method and Literary Currents 167
- B) Periodization 168
- IV. Theoretical Proposal 170
- A) Formal Level 170
- B) Contextual Level 175
- V. Methodology 178
- Notes 182
- BIBLIOGRAPHY 188
