English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Zendy Open

Presents the pdf analysis as premium feature

PDF Analysis

Insights

Presents the summarisation as premium feature

Summarisation

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the zaia usage as premium feature

ZAIA

Zendy Tools

Zendy Plus

Presents the access of premium content as premium feature

Premium Content

The Semiotic and the Performative In the 1970s, when the so-called linguistic, or semiotic, turn took place in the humanities, it opened up new possibilities for theatre research. Up to then, its main self-understanding had been that of a historical discipline analogous to art history and the history of literature. But whereas these disciplines regarded the analysis and interpretation of works of art from past epochs as their main task, a comparable approach was not open to theatre studies. Performances of the past are no longer accessible; they are gone and lost forever. The ephemeral and transitory nature of performance, which the German playwright and theoretician Gotthold Ephraim Lessing referred to as early as the 18th century as theatre’s unique peculiarity, does not allow the analysis or interpretation of a past performance. It is possible to examine documents on a performance as well as the material traces left behind, such as the theatre building, stage sets, costumes, props, the text of a play, a score, reports or reviews on the performance, etc., but not the performance itself. On the other hand, a performance, which was accessible, i.e. contemporary theatre, was not considered a suitable object of research. For while the literary scholar or the art historian is able to take recourse to the object of his study whenever it is needed and become absorbed in its details, contemplating it as long as he feels necessary, the performance is not at the theatre scholar’s disposal in a comparable way. Because of its fleeting nature, any attempt to analyze it seems doomed to failure. Therefore, dealing with contemporary performances was left to theatre critics, while the scholar’s object of interest was taken from theatre history. By the 1970s, when theatre scholars began to question this distribution of labor and tried to develop methods of analyzing a performance despite its ephemeral nature, semiotics provided them with a set of tools. Semiotically speaking, a performance can be defined as a structured coherence of theatrical signs such as

Sense and Sensation: Exploring the Interplay between the Semiotic and Performative Dimensions of Theatre