نشانه شناسی تئاتر و درام

by Keir Elam, فرزان سجودی (Translator)

Much praised for its accessibility, The Semiotics of Theatre and Dramaremains a 'must-read' text for all those interested in the analysis of theatrical performance.

Genres: Theatre, Semiotics, Nonfiction

255 pages, Paperback

First published January 28, 1980

About the author

Currently he is a Professor of English Literature, Faculty of Arts at the University of Bologna, in Italy. He also is Head of Department of Modern Languages, Literatures and Cultures at the same university.

Reviews

[Ali]

کتاب با تعریف ساختار تئاتر و تفاوت آن با مفهوم درام شروع میشه و در ادامه انواع نشانه ها در درام با ارائه مثال، معرفی میشوند. بهترین قسمت کتاب، فصل 4 هست که با مثال هایی از اثار کلاسیک ادبیات، ترکیب استفاده از نشانه رو در چارچوب درام توضیح میدهد. خوندن این کتاب به فهم دقیق آثار دراماتیک کمک میکنه و مخاطب تئاتر درک کاملی از کاربرد نشانه(برای بیننده) و چگونگی استفاده از نشانه ها(برای نویسنده و کارگردان) پیدا میکنه.

[Phillip]

Second Review: Although a lot of what I wrote in my original review is still correct, I think it was somewhat uncharitable. This time I read through the entire book, and while it is an overview of things that are dealt with in more depth in other places. But in fairness, that is pretty much the purpose of the New Accents series. The book presents a wide variety of issues facing the drama theorist, including issues of enunciation, gesture, and both social, theatric, and ideolectic codes. One of the principle points made throughout this book is the number of challenges inherent in semiotic analysis of theatre as live performance, partially because of the singularity of live performance, and partially because of the multiple semiotic codes working simultaneously in theatre.


Original Review: It's more like I stopped reading this than that I actually finished. A drama professor told me that Elam's book is good for what it does, which isn't much. From what I read I agree. From what I read, Elam seems to take the principles of semiotics--which one can get pretty thoroughly from a book like Barthes' Elements of Semiotics--and apply them to the theatre as a complex system of signs borrowing from multiple sub-types of semiotic study (e.g., linguistics, fashion, kinestic studies of posture, gesture, and positioning). But as far as I can tell, other than pointing out that theatre is not a simplistic semiotic discipline, this book doesn't really add much original insight or new information to the field of semiotics or the field of theatre studies.

[Andrea Lupi]

A short and good methodological introduction on how to read dramatic and theatrical texts

[Ali Sokhan]

ویراست کتاب بسیار ازاردهنده س
بسیاری از مطالب کم اهمیت بجای پاورقی در پرانتز های کلافه کننده ای در داخل متن گنجانده شده
که تأثیر محتوی جالب کتاب رو کاهش داده

[امیرمحمد]

به‌عنوان یک کتاب مرجع سطح کیفی خوبی نداشت.

[Marie Trotter]

Really fascinating and thorough application of speech acts theory & semiotics to the world of dramatic performance.

[Salli]

A pretty clear exposition of the topic. while there were plenty of examples to help understanding I could have done with a few more and found myself a bit lost in places - but the material is very technical and it's hardly a bed time read. My only other comment is, what do we really hope to achieve by studying this stuff? So much of it seems either so obvious or banal or arcane. I don't really see a practical target, though it is all very interesting but, as an old boss said a bit of "fancy that" information.

[Katie]

skim