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By André Helbo

N fresh years, the submit structuralist theories appear to have created a break up in theatrological examine. yet, as André Helbo analyses during this e-book , a dialectic conception of the semiotic and the symbolic alternate deliver to gentle a particular paradigm. From his huge event as a semiotician and a theatrologist, the writer has built an research for the speculation of spectacle. Focusing his research on a serious thought of the acting arts, and studying the elemental controversies, he then bargains new views and new tools of study: the social facets, readability/visibility, coherence, the spectacle agreement.

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It can rather borrow from language (langue) and from linguistics, implement the reversal of the I/you relation (as discussed by Benveniste) in order to characterize the relation setting/auditorium. Thus to the extent that the semiotician, as well as the linguist, can/must include both the language which is spoken and that which is understood, the scenic-textual proceeding and the performing proceeding, will he be able to articulate his discourse in a linguistic/ semantic dimension (horizon). Paradoxically, many studies attempt to extrapolate the linguistic parameters and hence obscure the performing character of the theatrical phenomenon reducing the latter to a strategy of textual roles.

The emergence of new documentary techniques (files, computers, video-recorders) has led to improvements not only in the conservation and the recording of the performance, but also in its analysis. The notation techniques of the performance, in particular, have grown much more accurate: rigorous questionnaires have been drawn up, recordings have been observed systematically. But in spite of all this, the analysis remains dependent on the observer's choices: only certain kinds of elements can be taken down, and the recording process is limited to the scope of the camera.

G. language, ideology or culture). Specific codes, set by theatrical convention (which depends on the performance, the genre, the historical period). Mixed codes: use of general codes in a theatrical situation. Here one must emphazize the importance of theatrical convention. Since it separates arbitrarily the natural ("everyday") world from the world of the spectacle — sometimes by means of a chalk circle —, it can be said to have an illocutionary value. Indeed, the transition from the everyday world to the spectacular necessitates an arbitrary boundary, a passage marked by tradition (curtain raiser, the three knocks in French playhouses) or by the director himself (outside the Bouffes du Nord building, Peter Brook set up a clock whose replica could be found inside the playhouse: transition from natural time towards theatrical time, marked by the symbolic boundary of a threshold).

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