By Susan Melrose
Is "theatre semiology" now heritage? Melrose's e-book argues that theatre perform maintains to use either a posh internet of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of constructing do) defined through Michel de Certeau. In drawing on either the habitus and the "practices of daily life", Melrose makes an attempt to track among confirmed theoretical fields and fields of perform, a discursive direction which would let a renewed semiotic method of dramatic theatre's various economics. Susan Melrose is the writer of "Eating Out".
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Extra resources for A Semiotics of the Dramatic Text
There 38 A Semiotics of the Dramatic Text appear the structures of cognitive-instrumental, of moralpractical and of aesthetic-expressive rationality, each of these under the control of specialists who seem more adept at being logical in these particular ways than other people are. (p. 9) In the light of this hypothesis, should we confront Analysis head on, armed with our Oedipal tools, to try to take its scene from it, as, in their day, did the structuralists (after the avant-garde's own revolts)?
What he seems unprepared to acknowledge, is that the fragmentary, amnesiac, or schizophrenic onstage might be esthetically valid practices; that secondly they are irresistibly grounded by their place in a given theatre, in its social context, without this grounding necessarily serving as control; and thirdly that fragmentation and amnesia (rather than clarity and coherence) might themselves present a current (hence historically specific) refusal to articulate cohesive explanatory master discourses through theatre stagings.
Or to be 'powerfully symbolic', in that the material and energetic specifics were replaced, by the user, with a generalised statement ('man's hunger for ... I, 'human striving after ... ') of supposedly universal verities, which was once again attributed to a creative 'vision' on the part of the 'emitter', despite the fact that it was produced by the 'receiver' critic. g. 'expressionist', 'social realist', or 'symbolist' theatre). Desire-traps This new appropriation of old experience, in terms of the newly pervasive model of knowledge that was semiology, serves here as an example of what I want to call a 'deSire-trap' (cf.
A Semiotics of the Dramatic Text by Susan Melrose