By Susan Melrose
Is "theatre semiology" now heritage? Melrose's publication argues that theatre perform maintains to use either a fancy net of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of constructing do) defined by means of Michel de Certeau. In drawing on either the habitus and the "practices of daily life", Melrose makes an attempt to track among verified theoretical fields and fields of perform, a discursive direction which would let a renewed semiotic method of dramatic theatre's diversified economics. Susan Melrose is the writer of "Eating Out".
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Additional resources for A Semiotics of the Dramatic Text
Cohesion, coherence and 'grounding' emerge again as criteria for good theatre performance, and again they imply the global ising control of mise en scene. 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.
Arguably the generations brought up with television, as well as those fields of education which draw strongly on video, Similarly draw extensively on somatic practice curiously 'transmitted' not just visually and bi-dimensionally, but through a synesthesia we do not yet understand, to the whole body - as a complex knowledge which does not need to be mediated by language. We need advances from AI to understand Theatre and Language 49 this sight-through-to-action transfer, from 'grey level' description, to the equivalent.
If felt-experience is vital to theatre which works and it is - and to a theatre which is marketable because it works (and this is part of a market economy's esthetic, and thus part of theatre's semiotic), then we are dealing with the explicit 'personali- sation-potential' that dramatic theatre as a social practice seems to make possible. Just how it manages to be Simultaneously 'social' and highly varyingly 'personal', is precisely what we need to consider. ) 'something else'; - or its arbitrary but supposedly stable, 'collective', associative or symbolic relationship with what it is not like, with its other, which it nonetheless can be read/said to stand for: I can do no more than note in passing, in this introduction, the extent to which the notion of 'a sign' as a minimal meaningful unit in symbolic functioning is a nonsense.
A Semiotics of the Dramatic Text by Susan Melrose