By Susan Melrose
Is "theatre semiology" now background? Melrose's publication argues that theatre perform maintains to use either a posh net of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of creating 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 tested theoretical fields and fields of perform, a discursive direction which would let a renewed semiotic method of dramatic theatre's varied economics. Susan Melrose is the writer of "Eating Out".
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Extra resources for A Semiotics of the Dramatic Text
26-33) II We are in the wings here of the libidinal, passionate stage of theory. But such an observation has had to wait for the emergence of the postmodern scene. The concealed passion of that earlier stage was infused with an awe-filled yearning (of the supposedly 'weak' because self-proc1aimedly 'instinctive','intuitive', 'creative') after the approval of a supposedly paternalistic, 'objective' master discourse called Science. The trap - because of that yearning - was a pleasurably irresistible (and, it now seems, illusory) prison to inventiveness.
But the 'foundations' upon which structural semiotics was established were formal, categorising, categorical: observing the marginalisation of a 'minority group' reqUired the identification by the analyst, first of a mainstream, and then of a marginalised group as its other, its negativity. But from what position did the observer look? g. gender or ethnic or racial or economic feature - by which it would be 'known' and then re-cognised, and upon which the establishment of an A/non-A structure depended; and from which further work would be developed.
II The case of Mnouchkine and the Thedtre du Soleil provides an example of the development from political radicalism in the late 1960s, through to what might now be called - not just in view of 40 A Semiotics of the Dramatic 'lext Pavis' disenchantment quoted above - a postmodern enchantment wholly lacking in cynicism in spite of the trappings of property, middle class popularity, and huge government subSidy. g. Schaub, Lemetre, in Les Attrides); - a transformable 'proper' (or owned) space; - a 'classical' stage-audience relationship; - a cunningly 'filmic' use of the stage-off-stage space, defined through the gaze; - actors able to work through dance, acrobatics, micro-somatic 'intensities' (which avoid the need for cannibalised actorly 'moral interiorities': Hunter, 1983); - acutely skilled verbalisation; - a continuous musical score and performance, on stage, by J.