LEADER 04651nam 2200601Ia 450 001 9910825544303321 005 20240514055843.0 010 $a1-283-35892-1 010 $a9786613358929 010 $a90-272-7900-4 035 $a(CKB)2550000000073207 035 $a(EBL)802017 035 $a(OCoLC)769342059 035 $a(MiAaPQ)EBC802017 035 $a(Au-PeEL)EBL802017 035 $a(CaPaEBR)ebr10515887 035 $a(CaONFJC)MIL335892 035 $a(EXLCZ)992550000000073207 100 $a19870507d1987 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTheory of performing arts /$fby Andre? Helbo 205 $a1st ed. 210 $aAmsterdam ;$aPhiladelphia $cBenjamins$d1987 215 $a1 online resource (161 p.) 225 1 $aCritical theory ;$vv. 5 300 $aDescription based upon print version of record. 311 $a90-272-2409-9 320 $aIncludes bibliography: p. 147-153. 327 $aTHEORY OF PERFORMING ARTS; Editorial page; Title page; Copyright page; Table of contents; Foreword; I. CRITICAL THEORY AND PERFORMING ARTS; 1. A general socio-semiotic model; 1. The discourse of social sciences; 1.1. The negative image of semiotics; 1.2. Actualization - Natural language (langue) and speech (parole); 1.3. Language and society; 1.4. The relational structure; 1.5. Enunciation; 2. Methodology. Spectacular discourse; 2.1. The polysemy of convention; 2.2. Arbitrariness and observation; 2.3. The possible world; 2.4. Persusasive and interpretative doing; 2.5. Modalities 327 $a2.6. Specific rhetorics Note of the translator; Notes; 2. Towards a theatre semiotics; Notes; 3. Theatrology and literary studies; 1. What is theatrology?; 2. Theatrical production; 2.1. Identification; 2.2. Differentiation; 2.3. Text and performance; 3. Theatrical reception; 4. Montage; Notes; II. FUNDAMENTAL CONTROVERSIES; 1. Research methodology; 1. General survey; 2. Semiotics of theater; 3. Relationships to other scientific disciplines; 4. The scientific quest; Note; 2. Communication and cognition; 1. The validity of the rubrics; 2. The relevance of the concept of stimulation 327 $a3. Relevance of the concept of communication Notes; 3. Pragmatics and discourse; 1. A double delegation process; 2. Enunciation instances; 3. Ponendo tollens; Notes; 4. The code, irrelevant concept?; 1. The icon; 2. The index; 3. The signal; 4. The symbol; 5. Stereotypes; Notes; III. NEW PERSPECTIVES AND NEW INSTRUMENTS; 1. The visual paradigm and the scene; 1. Process of an encounter; 2. Semiology of the image; 3. Visual semiotics; 4. The theatrical text; 4.1. Plastic materiality; 4.2. On the relationship premanifested-linguistics-iconics; 4.3. On the verbalization of the figurated 327 $a4.4. On codes Notes; 2. Readable and visible dimensions. Opera and theater.; 1. Definitions. Why is opera theory relevant to theatrology?; 2. Theater; 3. Opera; 4. The emancipated image; 5. Enunciated historicity; 6. A poetics; 3. Reception and relation; 1. Mask, otherness; 2. The theatrical object; 3. System of the game; 4. Approach of the theatrical game; Notes; 4. Constructing coherence; 1. Methodological premises; 2. The spectacular text; 3. The components of the spectacular text; 4. Pragmatic study of the spectacular text; 5. Contextual study of the spectacular text; 6. Text and coherence 327 $a7. Conclusion 5. The spectacular paradigm; Notes; References 330 $an recent years, the post structuralist theories seem to have created a split in theatrological research. But, as Andre? Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coheren 410 0$aCritical theory ;$vv. 5. 606 $aPerforming arts$xSemiotics 606 $aPerforming arts$xPhilosophy 615 0$aPerforming arts$xSemiotics. 615 0$aPerforming arts$xPhilosophy. 676 $a790.2/0141 676 $a790.20141 700 $aHelbo$b Andre?$0423105 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910825544303321 996 $aTheory of performing arts$93943276 997 $aUNINA