By Susan Melrose
Is "theatre semiology" now historical past? Melrose's ebook argues that theatre perform maintains to use either a fancy 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 validated theoretical fields and fields of perform, a discursive direction which would let a renewed semiotic method of dramatic theatre's various economics. Susan Melrose is the writer of "Eating Out".
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Additional resources for A Semiotics of the Dramatic Text
It is in the 'naturalised' and 'invisible' terms articulated through modernism, that we tend 'naturally' in various domains of human practice to choose right or wrong, black or white, male or female, animal or vegetable or mineral; here or there, in proxemic terms; the actor or the character or the spectator, in performance terms. It seems still to be the case that it is felt to be natural that if male, anatomically, then 'should-be-masculine'; if male and 'masculine', then 'masterly', 'dominant', oriented to the exterior, to the rational, where these are always understood in relation to 'naturally occuring' negative categories of 'not male', 'not masculine', 'not masterly', oriented to the interior and the body.
P. 9) In the light of this hypothesis, should we confront Analysis head on, armed with our Oedipal tools, to try to take its scene from it, as, in their day, did the structuralists (after the avant-garde's own revolts)? But the structuralists tried to banish questions of ethics and morality from their judgemental scene, unpicking esthetics to demonstrate that the artefact was structured and hence not an 'originality' mystically charged; and bore, as well, secret agendas and the mark of power struggles.
Such a scenario would be more compromising than that focused on a principled womanly revenge. But to confront one tradition with the makings of another is to bind oneself in to the endless chain of History: the King is dead, they cry, long live the King/ Queen! It is modernism which derives from the desire for, and then advocates, the clear opposition of the one to the other: this' clear distinction' forged between the two, stages the desire for clarity, for visual and then speculative precision, dear to the Enlightenment.
A Semiotics of the Dramatic Text by Susan Melrose