Theatre semiotics : text and staging in modern theatre /
Theatre is composed of a multitude of signifying systems that have a dual function as literary practice and as performance practice. In Theatre Semiotics Fernando de Toro carefully considers the multiple and complex components which constitute the relationships between a text, its concretization as...
| Main Authors: | , |
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| Other Authors: | |
| Format: | Book |
| Language: | English Spanish |
| Published: |
Toronto :
University of Toronto Press,
1995
Toronto : c1995 Toronto ; Buffalo : 1995 Toronto ; Buffalo : c1995 Toronto ; Buffalo : ©1995 Toronto : 1995 |
| Series: | Toronto studies in semiotics
Toronto studies in semiotics |
| Subjects: |
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| 100 | 1 | |a Toro, Fernando de | |
| 100 | 1 | |a Toro, Fernando de, |d 1950- | |
| 240 | 1 | 0 | |a Semiótica del teatro |l English |
| 240 | 1 | 0 | |a Semiótica del teatro |l English |
| 240 | 1 | 0 | |a Semiótica del teatro |l English. |
| 245 | 1 | 0 | |a Theatre semiotics : |b text and staging in modern theatre / |c Fernando de Toro ; translated from the Spanish by John Lewis ; revised and edited by Carole Hubbard |
| 260 | |a Toronto : |b University of Toronto Press, |c 1995 | ||
| 260 | |a Toronto : |b University of Toronto Press, |c c1995 | ||
| 260 | |a Toronto ; |a Buffalo : |b University of Toronto Press, |c 1995 | ||
| 260 | |a Toronto ; |a Buffalo : |b University of Toronto Press, |c c1995 | ||
| 260 | |a Toronto ; |a Buffalo : |b University of Toronto Press, |c ©1995 | ||
| 264 | 1 | |a Toronto : |b University of Toronto Press, |c 1995 | |
| 300 | |a xvi, 201 p. : |b ill. ; |c 24 cm | ||
| 300 | |a xvi, 201 p. ; |c 24 cm | ||
| 300 | |a xvi, 201 pages : |b illustrations ; |c 24 cm | ||
| 300 | |a xvi, 201 pages ; |c 24 cm | ||
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| 440 | 0 | |a Toronto studies in semiotics | |
| 490 | 1 | |a Toronto studies in semiotics | |
| 500 | |a This WorldCat-derived record is shareable under Open Data Commons ODC-BY, with attribution to OCLC |5 CTY | ||
| 500 | |a Translation of: Semiótica del teatro : del texto a la puesta en escena. | ||
| 500 | |a Translation of: Semiótica del teatro : del texto a la puesta en escena | ||
| 500 | |a Translation of: Semiótica del teatro : del texto a la puesta en escena | ||
| 500 | |a "This book is a translation, expanded and updated, of Semiótica del teatro : del texto a la puesta en escena (Buenos Aires: Editorial Galerna 1987)"--Verso of t.p | ||
| 504 | |a Includes bibliographical references (p. [171]-201) | ||
| 504 | |a Includes bibliographical references (pages [171]-201) | ||
| 504 | |a Includes bibliographical references | ||
| 505 | 0 | |a Foreword to the Spanish Edition / Marco De Marinis -- Foreword / Mario Valdes -- Preface / Fernando de Toro -- Ch. I. Theatre Discourse. I. The Notion of Discourse. II. Theatre Discourse. III. Functions of Theatre Discourse. IV. Specification of Theatre Discourse -- Ch. II. Text, Dramatic Text, Performance Text. I. Text. II. The Dramatic Text. III. Performance Text -- Ch. III. Theatre Semiotics. I. Semiosis. II. The Nature of the Theatre Sign. III. The Icon, the Index, the Symbol According to Peirce. IV. The Icon, the Index, and the Symbol at Work in Theatre. V. Theatre Referentiality -- Ch. IV. Theatre Reception. I. Reception Theory. II. Theatre Reception. III. New Perspectives -- Ch. V. Towards an Actantial Model for Theatre. I. Background. II. The Actantial Model -- Ch. VI. Theatre History and Semiotics. I. General Background. II. The Current State of Affairs in Historical Research. III. Literary History in Latin America: One Example. IV. Theoretical Proposal. V. Methodology | |
| 505 | 0 | |a Theatre discourse -- Text, dramatic text, performance text -- Theatre semiotics -- Theatre reception -- Towards an actantial model for theatre -- Theatre history and semiotics | |
| 505 | 0 | 0 | |t Foreword to the Spanish Edition / |r Marco De Marinis -- |t Foreword / |r Mario Valdes -- |t Preface / |r Fernando de Toro -- |g Ch. I |t Theatre Discourse. |g I. |t The Notion of Discourse. |g II. |t Theatre Discourse. |g III. |t Functions of Theatre Discourse. |g IV. |t Specification of Theatre Discourse -- |g Ch. II. |t Text, Dramatic Text, Performance Text. |g I. |t Text. |g II. |t The Dramatic Text. |g III. |t Performance Text -- |g Ch. III. |t Theatre Semiotics. |g I. |t Semiosis. |g II. |t The Nature of the Theatre Sign. |g III. |t The Icon, the Index, the Symbol According to Peirce. |g IV. |t The Icon, the Index, and the Symbol at Work in Theatre. |g V. |t Theatre Referentiality -- |g Ch. IV. |t Theatre Reception. |g I. |t Reception Theory. |g II. |t Theatre Reception. |g III. |t New Perspectives -- |g Ch. V. |t Towards an Actantial Model for Theatre. |g I. |t Background. |g II. |t The Actantial Model -- |g Ch. VI. |t Theatre History and Semiotics. |g I. |t General Background. |g II. |t The Current State of Affairs in Historical Research. |g III. |t Literary History in Latin America: One Example. |g IV. |t Theoretical Proposal. |g V. |t Methodology. |
| 520 | |a Theatre is composed of a multitude of signifying systems that have a dual function as literary practice and as performance practice. In Theatre Semiotics Fernando de Toro carefully considers the multiple and complex components which constitute the relationships between a text, its concretization as performance, and its reception by the audience in this translation and revision of his Semiotica del teatro: Del texto a la puesta en escena. He focuses on discourse, textuality, semiosis, reception, actantial functions, and history; this comprehensive overview of the various semiotic approaches is placed in the context of modern European, North American, and Latin American theatre | ||
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