The semiotics of performance /

Saved in:
Bibliographic Details
Author / Creator:De Marinis, Marco.
Uniform title:Semiotica del teatro. English
Imprint:Bloomington, Ind. : Indiana University Press, ©1993.
Description:1 online resource (viii, 266 pages) : illustrations
Language:English
Series:Advances in semiotics
Advances in semiotics.
Subject:Theater -- Semiotics.
Semiotics.
PERFORMING ARTS -- Theater -- History & Criticism.
Semiotics.
Theater -- Semiotics.
Semiotik
Theatersemiotik
Semiotiek.
Toneel.
Drama
Electronic books.
Format: E-Resource Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/11109368
Hidden Bibliographic Details
ISBN:0585201056
9780585201054
0253316863
9780253316868
Notes:Translation of: Semiotica del teatro.
Includes bibliographical references (pages 237-266).
Restrictions unspecified
Electronic reproduction. [Place of publication not identified] : HathiTrust Digital Library, 2010.
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002. http://purl.oclc.org/DLF/benchrepro0212
English.
digitized 2010 HathiTrust Digital Library committed to preserve
Print version record.
Summary:"In this brilliant book Marco De Marinis develops a systematic definition of performance in terms of text, a new theoretical object, which he sees as the result of treating theatrical performance as a material object, a mixture of old and new, of the "already said" and the "not yet said." This permits him to view performance as an original combination within a textual structure of pre-existing codes and specific codes that are created anew with each performance and thus recognizable only by abduction."--Jacket
Other form:Print version: De Marinis, Marco. Semiotica del teatro. English. Semiotics of performance. Bloomington, Ind. : Indiana University Press, ©1993 0253316863
Review by Choice Review

Another entry in the evolution of a semiotician's theater, that is, theater as a theoretical function of semiotic practice. De Marinis intelligently if somewhat paradoxically illustrates the limited uses of semiotics in explicating theatrical genre ("co-textual and contextual traits"), theatrical eventfulness, spectatorship, absence, and durative time, which transcend rigid rules and codes. Semiotics may be a trace of what the author calls "the utopian fantasy of comprehensive notation," the doomed project of completely reconstructing mise en sc`ene in its historical and theatrical milieu and moment. Theatrical performance's elasticity and unrepeatability defy scientific analysis, a fact that De Marinis honestly confronts rather than settling for the Pyrrhic victory of semiotics over the more docile dramatic text. The book, which culminates with annotated endnotes and a bibliography, succeeds at refining elements in the problem that semiotics and theater represent to and for one another. Graduate; faculty. S. Golub; Brown University

Copyright American Library Association, used with permission.
Review by Choice Review