By Susan Melrose
Is "theatre semiology" now background? Melrose's publication argues that theatre perform keeps to use either a posh net of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of creating 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 tested theoretical fields and fields of perform, a discursive course which would allow a renewed semiotic method of dramatic theatre's assorted economics. Susan Melrose is the writer of "Eating Out".
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Additional info for A Semiotics of the Dramatic Text
Softening 'science' But times change: perhaps the discourse of science, noting theatre's laugh (among others), might be ready to drop some of its own self-seriousness. As Ulmer goes on to indicate - and this is in line with the renewed need for a 1990s' semiotics of writing for the stage - [i]n practice scientists often choose to work inventively rather than methodologically", drawing passion, conceit, errors and sheer pigheadedness into their practice, since: II seductiveness of content ... is of the essence because interest must be created at a time when the usual methodological prescriptions have no point of attack" .
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' ...
Linguistics, literary theory, discourse analysis, anthropology, ethnography), is marked by a renewed interrogation of the established and possible relationships between language and other modes of human action. For our present purpose, focused on the relationship between dramatic writing and other theatre practice, and bearing in mind the different notions of semiosis we have briefly examined in the preceding chapter, we need to retain as tentative and pragmatic guidelines to our critical enqUiry, a field marked by certain peaks which continue to show up within theatre practice as we know it: dramatic writing activated by practitioners in the context of a planned staging within a given cultural context; somatic action; semiosis; idealisation and options for realisation; the metteur en scene, the actor, character, the spectator, and their possible roles and relations.
A Semiotics of the Dramatic Text by Susan Melrose