Ruimte in die drama: ‘n uitgebreide terminologie
TL;DR: In this paper, a distinction is made between physio-mimetic and psycho-, i.e., the latter dealing with the mimetic presentation of a charcter's image of a certain space, e.g. dreams.
Abstract: Summary In discussions of space in plays the terms used are usually vague and general. In this paper an attempt is being made to provide more appropriate terms, especially as pertains to descriptions of space in the radio play. Stemming from the well‐known usage of “mimetic space”, a difference is here being established between physio‐mimetic and psycho‐mimetic space; the latter dealing with the mimetic presentation of a charcter's image of a certain space, e.g. dreams. Diegetic space is also more closely defined, and divided into periods (e.g. present, historical and prospective). Further useful terms are psycho‐, socio‐ and textual diegesis. The terminology explicated in this article is equally useful for theatre, radio and television plays.
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01 Jan 1983
TL;DR: In this paper, the authors present a text and its reading of events, characters, and speech representation for the first time, with a focus on focalization and level and voice levels.
Abstract: 1. Introduction 2. Story: events 3. Story: characters 4. Text: time 5. Text: characterization 6. Text: focalization 7. Narration: levels and voices 8. Narration: speech representation 9. The text and its reading 10. Conclusion 11. Towards...:afterthoughts, almost twenty years later
1,191 citations
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01 Jan 1980TL;DR: Signs in the theatre: Prague structuralism and the theatrical sign Typologies of the sign as discussed by the authors Theoretically, the sign is a symbol of the presence of the audience.
Abstract: 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.
761 citations
TL;DR: The distinction between space on stage and space off stage, between what is shown to an audience and what is not, has been studied in the context of drama as mentioned in this paper, where a play when enacted must take place in some real, visible space, on a stage or in an area fulfilling that purpose.
Abstract: If, following Beckett's example, one can banish from a play various elements, such as movement, or even dialogue, the element that must remain constant and be retained in any text written for theatrical performance is, of course, space. A play when enacted must take place somewhere. Its performance must occur in some real, visible space, on a stage or in an area fulfilling that purpose. That much is obvious. But what is perhaps less obvious is how complex space in drama is, once it is subjected to analysis. In the case of narrative, when we talk of space, we are normally referring to one of two kinds of space the space of language (the text itself considered spatially) (Genette, 1969:43-48), or the language of space, namely the words cueing the reader and enabling him to participate in the illusion of the verbal creation of geographic space (cf. Issacharoff, 1976:10-19, 1978:1-5). In narrative, however, since there can be only one channel transmitting space verbal language its mode of existence is relatively simple. Space in narrative, then, is mediated by language, and its perception by the reader can only occur through the verbal medium. In the theater, on the other hand, space is a much more complicated phenomenon, embracing several conceivable theatrical areas. A fundamental distinction must be drawn, first of all, between the two entities: space on stage and space off stage, between what is shown to an audience and what is not. That problem alone is the epitome of controversies and aesthetic theory spanning some three hundred years of French theater! Moreover, dramatic tension is often contingent on the antinomy between visible space represented and invisible space described. I shall return to this distinction later. The main point to bear in mind for the moment is that unlike space in narrative, space in drama is not one-dimensional and it is best classified in accordance with its mode of transmission by the encoder and perception by the decoder.
70 citations