By Jean Alter
Analyzes the elemental duality of theatre (the play is going on on a degree, however the tale is going on at someplace else and time), exploring how the 2 elements either compete and supplement one another, and suggesting the social components that effect the full technique.
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Extra info for A sociosemiotic theory of theatre
Visibly, among the various possible scenarios, only one shows a future theatre that breaks with all traditions and yet is still identified as theatre. A theory of theatre oriented by that uncertain outcome would be highly speculative. Granted, speculation of this sort has its rewards: satisfaction of matching tradition and subversion, bridging past and future, designing a universal model that could encompass all future types of theatrical activity. " 1 Under the catchword of "theatre," the same writer groups, together with drama, such varied events as circuses, dances, and sport games.
Without such texts, however minute our research of secondary sources, it would be hard to reconstruct past stage events, compare performances of the same play at different times, propose a history of theatre, establish a theatrical tradition. The verbal text can be oral or written, or both. In the Western tradition, few oral texts have been preserved without having been recorded in writing at some time. Like many improvised performances, most purely oral texts are gone forever. Secondary sources mention them, but we cannot know what they were exactly.
Directors and Society 246 "Absent" and "collective" directors 246 Individual directors: tensions and strategies 251 3. " It is also somewhat provocative: some of its postulates run counter to widely accepted notions about theatre and semiotics. My initial intentions were more modest. I started to write this book, about a dozen years ago, in order to explore the newly rediscovered field of semiotics of theatre. Within a short time, however, it was thoroughly mapped in several major studies and hundreds of articles.