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, t...
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| Veröffentlicht in: | Signa (Madrid, Spain) Spain), 2017-01 (26), p.493-509 |
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| creator | Popa Blanariu, Nicoleta |
| description | 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. |
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| fulltext | fulltext |
| identifier | ISSN: 1133-3634 |
| ispartof | Signa (Madrid, Spain), 2017-01 (26), p.493-509 |
| issn | 1133-3634 2254-9307 |
| language | fre |
| recordid | cdi_proquest_journals_1973322062 |
| source | Biblioteca Virtual Miguel de Cervantes; Elektronische Zeitschriftenbibliothek - Frei zugängliche E-Journals |
| subjects | Audience participation Audiences Communication Comparative literature Comunicación Drama Literatura comparada Live performance Mimesis Mímesis Pragmatics Pragmática Rites & ceremonies Semiotics Semiótica Speech acts |
| title | LE SIGNE AGISSANT. D'UNE SÉMIOLOGIE DE LA MIMESIS VERS UNE PRAGMATIQUE DE LA PERFORMANCE |
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