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Generating theatre meaning: a theory and methodology of performance analysis
Author
Publisher
Sussex Academic Press
Publication Date
2008
Language
English
Description
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Table of Contents
From the Book
Preface and Acknowledgements
Introduction: State of the Art and Perspectives
Main schools and trends
The formalist movement
The Prague Linguistic Circle
Roman Ingarden
The semiotic school
Post-semiotic criticism
The IFTR Performance Analysis Working Group
Main theoretical topics
Textual nature of the theatre performance
Descriptive nature of the performance-text
Imagistic nature of the theatre medium
Basic convention of the theatre medium
Univocal nature of theatre units
Segmentation of the performance-text
The principle of acting: deflection of reference
Theatrical nature of the play-script
Poetic structure of the fictional world
Metaphoric nature of the fictional experience
Rhetoric structure of the theatre experience
Role of the implied director
Role of the implied spectator
A phenomenology of theatre
Structure of the book
Part I. Semiotic Substratum
1. The Imagistic Nature of Iconicity
Imagistic thinking: from Nietzsche to neuroscience
Iconicity: image imprinting and language mediation
The basic convention of theatre
Explanatory power of the imagistic approach
Typical iconic units
Real objects on stage
Stage metaphor
Stage convention
2. Segmentation of Performance-texts
Segmentation of real interaction
Ingarden's view of fictional verbal interaction
The pragmatic approach of Serpieri et al.
Segmentation of iconic interaction
Segmentation of stage objects
Segmentation of iconic interaction in Habimah's The Seagull
3. Stage Metaphor and Symbol
A theory of verbal metaphor
Stage metaphor
Speech act stage metaphor
Stylistic implications of mixed stage metaphor
Stage allegory
Personification
Substitution
Mediation by abstraction
Mixed praxical and allegoric discourse
Stage symbol
4. Stage Conventions
Reading principles
Kinds of stage conventions
Medium conventions
Imagistic conventions
Functions of stage conventions
Semiotic functions
Poetic functions
Norms and styles
5. Acting: The Quintessence of Theatre
Deflection of reference
Expanded notions of 'actor', 'text' and 'character'
Existential gaps between text and two worlds
The fundamental gap between real action and enacting action
Experiencing the performers' bodies
6. The Theatrical Nature of the Play-script
Two kinds of theatre texts
The literary fallacy
Play-script analysis
Intertextual relations between performance-text and play-script
Part II. Additional Strata and Disciplines
7. The Poetic Structure of the Fictional World
The twofold structure of the performance-text
Archetypal patterns of response
The stratified structure of the fictional world
Mythical layer
Praxical layer
Naive layer
Ironic layer
Aesthetic layer
Structure of the character
Possible fallacies
Sophocles' Oedipus the King
8. The Metaphoric Nature of the Fictional Experience
The metaphoric principle
The expressive nature of fictional worlds
The principle of personification
The apparent double reference of the performance-text
The mechanism of textual metaphor
Poetic implications
Metaphor in dramatic practice
Sophocles' Oedipus the King (continued)
Yerushalmi's Jephthah's Daughter
9. The Rhetoric Structure of the Theatre Experience
The pragmatic nature of speech interaction
The pragmatic nature of stage/audience interaction
Descriptive nature of the performance-text
Performative nature of the performance-text
Equivalence agent/director and object/spectator
Notion of 'macro-speech act'
Rhetoric nature of the stage/audience interaction
Yerushalmi's Jephthah's Daughter (continued)
10. The Implied Director
Hermeneutic vs. creative interpretation
The mechanism of creative interpretation
Fidelity, creativity, and legitimacy
Creative interpretation and intertextuality
Productions of Beckett's Waiting for Godot
The play-script
Creative interpretations of Waiting for Godot
11. The Implied Spectator
Real vs. implied spectator
Roles of the implied spectator
Yerushalmi's Woyzeck 91
Framing a performance-text
Reading a performance-text
Interpreting a performance-text
Experiencing a performance-text
Dialogue between implied director and implied spectator
12. A Phenomenology Theatre
State's phenomenological approach
Alternative phenomenological approaches
Functions of actors' bodies on stage
Textuality
Metatheatricality
Personification
Characterization
Aesthetic effect
Life Class: a personal experience
Theatre vs. performance art
Part III. Examples of Performance Analysis
13. A Transient Shadow: A Silent Description of a Speaking Fictional World
Reading A Transient Shadow
Interpreting A Transient Shadow
Principles of non-verbal description
Inherently non-verbal acts
Symbolic non-verbal acts
Metonymic non-verbal acts
Metaphoric non-verbal acts
Metaphoric hand gestures
Allegoric characters
Projected titles
14. Suz/o/Suz by La Fura dels Baus: Theatre at the Borderline
The notion of 'performance'
The notion of 'actual'
Performing an action vs. enacting an action
Suz/o/Suz by La Fura dels Baus
15. Habimah's The Trojan Women: A Ready-made Metaphor of Unjustified War
Euripides' The Trojan Women and its Homeric sources
Sartre's adaptation: Les Troyennes
Habimah's production of Les Troyennes
16. Robert Wilson's H.G: Non-theatrical Space as Stage Metaphor
Reading H.G.
On the legitimacy of interpretation
An attempt at interpretation
The warren - a found-space metaphor
17. Yerushalmi's Woyzeck 91: Intention in Creative Interpretation
Buchner's Woyzeck
Yerushalmi's Woyzeck 91
18. Methodological Conclusions
Aims of performance analysis
Means of performance analysis
Theoretical focus
Personal experience
Use of video recording
Abridged account
Intuition of structure and meaning
Independent performance analysis
The disciplines of performance analysis
Excludes disciplines
List of Cited Works
Index
Author Notes
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ISBN
9781845192525
178284726
9781782847267
178284726
9781782847267
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