LE SIGNE AGISSANT. D'UNE SÉMIOLOGIE DE LA MIMESIS VERS UNE PRAGMATIQUE DE LA PERFORMANCE

Many artistic experiments in the contemporary performance are focused on the orchestral (Palo Alto School), rather non-intentional aspects of communication: the audience co-participates and co-creates the show, often (sel-)communicating unintentionally From the viewpoint of the observing audience, the illocutionary acts performed on stage, in a traditional theatrical performance, are real acts within a fictional universe (Searle). But it's really quite different in the ritual drama, where from the participants viewpoint, real acts are being performed within a real world. The ritual drama has this highly performative value, it is a means of acting on the real.