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Contents: General Editor's Preface. Acknowledgements. 1. Preliminaries: Semiotics and Poetics: The Semiotics Enterprise; How Many Semiotics?; The material. 2. Foundations: Signs in the Theatre: Prague structuralism and the theatrical sign; Typologies of the sign. 3. Theatrical Communication: Codes, Systems and the Performance Text: Elements of theatrical communication; Theatrical Systems and Codes; Theatrical competence: frame, convention and the role of the audience. 4. Dramatic Logic: The construction of the dramatic world; Dramatic action and time; Actant, dramatis persona and the dramatic model. 5. Dramatic Discourse: Dramatic Communication; Context and deixis; Universe of discourse and co-text; Speech acts; The said and the unsaid: implicatures and figures; Textuality; Towards a dramatological analysis. 6. Concluding Comments: Theatre, Drama, Semiotics: Dramatic Text/performance text; A united enterprise? Suggestions for further reading. Bibliography. Index.
As theatre and drama of the Romantic Period undergo a critical
reassessment among scholars internationally, the contributions of
women as playwrights, actresses, and managers are also being
revalued. This volume, which brings together leading British, North
American, and Italian critics, is a crucial step towards reclaiming
the importance of women's dramatic and theatrical activities during
the period. Writing for the theatre implied assuming a public role,
a hazardous undertaking for women who, especially after the French
Revolution, were assigned to the private, primarily domestic,
sphere. As the contributors examine the covert strategies women
used to become full participants in the public theatre, they shed
light on the issue of women's agency, expressed both through the
writing of highly politicized or ethicized drama, as in the case of
Elizabeth Inchbald or Joanna Baillie, and through women's
professional practice as theatre managers and stage producers, as
in the case of Elizabeth Vestris and Jane Scott. Among the topics
considered are women's history plays, domesticity, ethics and
sexuality in women's closet drama, the politics of drama and
performance, and the role of women as managers and producers.
Specialists in performance studies, Romantic Period drama, and
women's writing will find the essays both challenging and
inspiring.
As theatre and drama of the Romantic Period undergo a critical
reassessment among scholars internationally, the contributions of
women as playwrights, actresses, and managers are also being
revalued. This volume, which brings together leading British, North
American, and Italian critics, is a crucial step towards reclaiming
the importance of women's dramatic and theatrical activities during
the period. Writing for the theatre implied assuming a public role,
a hazardous undertaking for women who, especially after the French
Revolution, were assigned to the private, primarily domestic,
sphere. As the contributors examine the covert strategies women
used to become full participants in the public theatre, they shed
light on the issue of women's agency, expressed both through the
writing of highly politicized or ethicized drama, as in the case of
Elizabeth Inchbald or Joanna Baillie, and through women's
professional practice as theatre managers and stage producers, as
in the case of Elizabeth Vestris and Jane Scott. Among the topics
considered are women's history plays, domesticity, ethics and
sexuality in women's closet drama, the politics of drama and
performance, and the role of women as managers and producers.
Specialists in performance studies, Romantic Period drama, and
women's writing will find the essays both challenging and
inspiring.
Critically acclaimed as one of Shakespeare's most complex and
intriguing plays, "Twelfth Night" is a classic romantic comedy of
mistaken identities. In recent years it has returned to the center
of critical debate surrounding gender and sexuality. The
Introduction explores the multiple factors that make up the play's
rich textual, theatrical, critical and cultural history. Keir Elam
surveys the play's production and reception, emphasizing the role
of the spectator both within the comedy and the playhouse.
The late twentieth century saw an explosion of interest in semiotics, the science of the signs and processes by which we communicate. In this study, the first of its kind in English, Keir Elam shows how this new 'science' can provide a radical shift in our understanding of theatrical performance, one of our richest and most complex forms of communication. Elam traces the history of semiotic approaches to performance, from 1930s Prague onwards, and presents a model of theatrical communication. In the course of his study, he touches upon the 'logic' of the drama and the analysis of dramatic discourse. This edition also includes a new post-script by the author, looking at the fate of theatre semiotics since the publication of this book, and a fully updated bibliography. Much praised for its accessibility, The Semiotics of Theatre and Drama remains a 'must-read' text for all those interested in the analysis of theatrical performance.
Shakespeare's Pictures is the first full-length study of visual
objects in Shakespearean drama. In several plays (Hamlet, The
Merchant of Venice and Twelfth Night, among others) pictures are
brought on stage - in the form of portraits or other images - as
part of the dramatic action. Shakespeare's characters show,
exchange and describe them. The pictures arouse in their beholders
strong feelings, of desire, nostalgia or contempt, and sometimes
even taking the place of the people they depict. The pictures
presented in Shakespeare's work are part of the language of the
drama, and they have a significant impact on theatrical
performance, from Shakespeare's time to our own. Keir Elam pays
close attention to the iconographic and literary contexts of
Shakespeare's pictures while also exploring their role in
performance history. Highly illustrated with 46 images, this volume
examines the conflicted cooperation between the visual and the
verbal.
Shakespeare's Pictures is the first full-length study of visual
objects in Shakespearean drama. In several plays (Hamlet, The
Merchant of Venice and Twelfth Night, among others) pictures are
brought on stage - in the form of portraits or other images - as
part of the dramatic action. Shakespeare's characters show,
exchange and describe them. The pictures arouse in their beholders
strong feelings, of desire, nostalgia or contempt, and sometimes
even taking the place of the people they depict. The pictures
presented in Shakespeare's work are part of the language of the
drama, and they have a significant impact on theatrical
performance, from Shakespeare's time to our own. Keir Elam pays
close attention to the iconographic and literary contexts of
Shakespeare's pictures while also exploring their role in
performance history. Highly illustrated with 46 images, this volume
examines the conflicted cooperation between the visual and the
verbal.
Critically acclaimed as one of Shakespeare's most complex and
intriguing plays, "Twelfth Night" is a classic romantic comedy of
mistaken identities. In recent years it has returned to the center
of critical debate surrounding gender and sexuality. The
Introduction explores the multiple factors that make up the play's
rich textual, theatrical, critical and cultural history. Keir Elam
surveys the play's production and reception, emphasizing the role
of the spectator both within the comedy and the playhouse.
This book makes ample use of approaches to language within
linguistics, semiotics, the philosophy of language and sociology,
in order to do justice to the subtlety of Shakespeare's verbal
artistry. Keir Elam adopts a fresh approach to the language of
Shakespeare's comedies, considering it not simply as 'style' but as
the principal dramatic and comic substance of the plays.
Traditional analysis of the language as 'diction', 'expression' or
'verbal structure' is not adequate to describe the range and
importance of linguistic functions in these plays. This book shows
that in Shakespearean comedy language, or rather 'discourse',
language in use, is always a dynamic, active protagonist of the
drama. The author explores the extraordinary gamut of verbal
activities or 'language-games' that contribute to the rich
rhetorical make-up of the comedies. The historical framework
complements the application of critical theory which will assure a
readership among students and teachers of Shakespeare as well as
those interested in liguistics and semiotics.
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