Download A Semiotics of the Dramatic Text by Susan Melrose PDF

By Susan Melrose

Is "theatre semiology" now heritage? Melrose's publication argues that theatre perform keeps to use either a posh internet of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of creating do) defined via Michel de Certeau. In drawing on either the habitus and the "practices of daily life", Melrose makes an attempt to track among validated theoretical fields and fields of perform, a discursive direction which would enable a renewed semiotic method of dramatic theatre's diverse economics. Susan Melrose is the writer of "Eating Out".

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It is 'something else' which determines whether one will close, another sell out for a season. This 'something else' belongs to fields of practice which are not logically-stabilised; they are therefore not wholly of the order of a code; and information technology shows us, by failing to tackle the subject of live dramatic theatre, that they are not even a matter of a 'density of interlocking codes'. (The A Semiotics of the Dramatic Text 32 theory of synergy might suggest that 'something occurs', which cannot be dis-interlocked, in performance conditions, and that if this doesn't occur, then we don't have 'good theatre' ...

What it does mean is that our semiotics must take note of one fact of theatricality: what in part makes theatre work is its capacity for creating those events which enable us to experience the blur where one system insinuates itself into 28 A Semiotics of the Dramatic Text another, with which it might be logically at odds; the blur where two options - and not one - from a given system, are simultaneously made available, to confound the notion of systemic choice itself, as an explanation of modes of cultural practice.

Durand, 1977). A deSire-trap involves the wide dissemination of a complex way of knowing (an episteme or epistemic complex) which both imprisons and pleases us in the apparent user-defining 'certainties' it offers: it cuts off (imposes closure upon) our capacity for interrogation and exploration of knowledges. For Ulmer (1989), what I call a deSire-trap draws into quaSi-everyday, anecdotal terms a theoretical or expert discourse, couched initially in a wholly 'scientific' or 'objectifying', third person register.

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