| Description |
1 online resource (556 pages) |
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text file |
| Contents |
SEMIOTICS OF DRAMA AND THEATRE; Editorial page; Title page; Copyright page; Table of contents; Introduction; NEW PERSPECTIVES IN THE THEORY OF DRAMA AND THEATRE; AN INTRODUCTION; 1. Introduction; 2. The present reader; 3. Conclusion; References; 1. Fundamentals of Theatre Research; THEATRE AND DRAMA RESEARCH; AN ANALYTICAL PROPOSITION* TO CARLOS; 1. Introduction; 2. A science in need for a methodology; 3. Two ways of doing science; 4. Conclusion; II. A FRAMEWORK FOR THEATRE RESEARCH; 1. Introduction; 2. State of affairs within Theatre Research; 2.1. Hermeneutic Theatre Research. |
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2.2. 'Imitative' Theatre Research3. Analytical Theatre Research; 3.1. Introduction; 3.2. Analytical Theory of Science; 3.3. The contents of an Analytical Science of Theatre; 4. Conclusion; References; II. Theory of Drama and Theatre; THE ALGEBRA OF SCENIC SITUATIONS; 1. Definitions; 2. Moore-Brainerd closure. Scenic domination; 3. Peculiar families of scenic configurations; 4. Groups of scenic configurations; References; EVIDENCES ET STRATEGIESDE L'ANALYSE THEATRALE; Notes; Références; ON THE NATURE OF DRAMATIC TEXT; Notes; References. |
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COHERENCE AND FOCALITY. A CONTRIBUTION TO THE ANALYSABILITY OF THEATRE DISCOURSENotes; References; III. DESCRIPTIVE THEATRE RESEARCH; THE DRAMATIC DIALOGUE -- ORAL OR LITERARY COMMUNICATION?; 1. Introduction; 2. Four types of dramatic dialogue; 2.1. The Literary dramatic dialogue; 2.2. The Theatrical dramatic dialogue; 3. Conclusion; Notes; References; MUSIC AS THEME AND AS STRUCTURAL MODEL IN CHEKHOV'S THREE SISTERS; 1. Introduction: Potential-Realization Ralationships as Underlying Structural Principle in Chekhov's Later Work; 2. Music in 'Three Sisters': Theme, Sound and Technique. |
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2.1. Music as Theme: Communicative Potentials and (Non- ) Realizations2.1.1. Introduction; 2.1.2. Music and the Prozorovs; 2.1.3. The Lost Key to the Precious Piano; 2.2. Music as Sound: Preliminary Remarks; 2.3. Music as Structural Model; Notes; References; DIE STRATEGIE DER PARADOXIE. ZUR LOGIK DER KONVERSATION IM DANDYISMUS AM BEISPIEL OSCAR WILDES; 1 Die sprachliche Strategie. Paradoxie als questio inter disciplinas; 2. Die historische Situation. Paradoxie als stilistischer Ausdruck des New Spirit der Yellow Nineties (Ein Zwischenspiel); 3. Das Ziel der Attacke.; 4. Das logische Spiel. |
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5. Die konservative Inquisition. 6. Dandy, Camp und fin du globe; Anmerkungen; Literaturhinweise; THE THEATRICAL THEATRE -- EVREINOV'S CONTRIBUTION TO RUSSIAN MODERNISM. AN ANALYSIS OF VESELAJA SMERT'; 1. The Object; 2. Methodology; 3. The historical background; 4. Evreinov's concept of theatricality; 5. Veselaja smert'; 6. Veselaja smert' and commedia dell'arte; 7. Veselaja smert' and symbolism; 8. Conclusion; References; LE ROLE DE L'ESPACE SCENIQUE DANS LA LECTURE DU TEXTE DRAMATIQUE; 0. Prémisses; 1. L'espace scénique dans un 'modèle' du genre dramatique. |
| Note |
2. L'espace scénique dans les 'Sei personaggi in cerca d'autore' de Pirandello. |
| Local Note |
eBooks on EBSCOhost EBSCO eBook Subscription Academic Collection - North America |
| Subject |
Drama.
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Drama. |
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Semiotics.
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Semiotics. |
| Genre/Form |
Electronic books.
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| Added Author |
Schmid, Herta.
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Kesteren, Aloysius van.
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| Other Form: |
Print version: Schmid, Herta. Semiotics of Drama and Theatre : New Perspectives in the Theory of Drama and Theatre. Amsterdam/Philadelphia : John Benjamins Publishing Company, ©1985 9789027215130 |
| ISBN |
9789027279675 (electronic book) |
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9027279675 (electronic book) |
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1283328623 |
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9781283328623 |
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