The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology
Identifieur interne : 000F63 ( Istex/Corpus ); précédent : 000F62; suivant : 000F64The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology
Auteurs : Eli RozikSource :
- Theatre Research International [ 0307-8833 ] ; 1999.
Abstract
In recent years, it has been widely suggested that the bodily presence of the actor (and actress) on stage marks the limits and limitations of the semiotic approach to theatre and determines the need for a more complex methodology of research.
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DOI: 10.1017/S0307883300020824
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journal-id-type="publisher-id">TRI</journal-id><journal-title>Theatre Research International</journal-title><abbrev-journal-title>Theatre Research International</abbrev-journal-title><issn pub-type="ppub">0307-8833</issn><issn pub-type="epub">1474-0672</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0307883300020824</article-id><article-id pub-id-type="pii">S0307883300020824</article-id><article-id pub-id-type="publisher-id">02082</article-id><title-group><article-title>The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology</article-title><alt-title alt-title-type="left-running">Theatre Research International</alt-title><alt-title alt-title-type="right-running">The Boundaries of Theatre and the Limitations of Semiotic Methodology</alt-title></title-group><contrib-group><contrib><name><surname>Rozik</surname><given-names>Eli</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1">Eli Rozik is <addr-line>Professor of Theatre Studies</addr-line>, <institution>Tel Aviv University</institution>.</aff><pub-date pub-type="ppub"><season>Summer</season><year>1999</year></pub-date><volume>24</volume><issue>2</issue><fpage seq="11">198</fpage><lpage>211</lpage><permissions><copyright-statement>Copyright © International Federation for Theatre Research 1999</copyright-statement><copyright-year>1999</copyright-year><copyright-holder>International Federation for Theatre Research</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>In recent years, it has been widely suggested that the bodily presence of the actor (and actress) on stage marks the limits and limitations of the semiotic approach to theatre and determines the need for a more complex methodology of research.</p></abstract><counts><page-count count="14"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0307883300020824a.pdf</meta-value></custom-meta><custom-meta><meta-name>dispart</meta-name><meta-value>Articles</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><title>Notes</title><fn id="fn01" symbol="1."><label>1.</label><p><citation id="ref001" citation-type="book"><name><surname>Turner</surname><given-names>Victor</given-names></name>, <source>From Ritual to Theatre</source> (<publisher-loc>New York</publisher-loc>: <publisher-name>PAJ Publications</publisher-name>, <year>1982</year>), pp. <fpage>68</fpage></citation> ff. and <citation id="ref002" citation-type="book"><name><surname>Schechner</surname><given-names>Richard</given-names></name>, <source>Performance Theory</source> (<publisher-loc>New York and London</publisher-loc>: <publisher-name>Routledge</publisher-name>, <year>1988</year>), pp. <fpage>166</fpage> ff.</citation></p></fn><fn id="fn02" symbol="2."><label>2.</label><p><citation id="ref003" citation-type="book"><name><surname>States</surname><given-names>Bert O.</given-names></name>, <source>Great Reckonings in Little Rooms</source> (<publisher-loc>Berkeley, Los Angeles, London</publisher-loc>: <publisher-name>University of California Press</publisher-name>, <year>1985</year>), p. <fpage>8</fpage></citation>. All stresses in States's quotes are mine. Further page references to this book will be given in brackets after each quotation, thus (GR, p.).</p></fn><fn id="fn03" symbol="3."><label>3.</label><p>States writes in note 5: ‘Throughout, I use the adjective <italic>phenomenal</italic> in the sense of pertaining to phenomena or to our sensory experience with empirical objects. The adjective <italic>phenomenological</italic>, of course, refers to the analytical or descriptive problem of dealing with such phenomena.’ <italic>Great Reckonings</italic>, p. 21.</p></fn><fn id="fn04" symbol="4."><label>4.</label><p><citation id="ref004" citation-type="book"><name><surname>Veltrusky</surname><given-names>Jiri</given-names></name>, ‘Man and Object in the Theater’, in <name><surname>Garvin</surname><given-names>Paul L.</given-names></name>, ed., <source>A Prague School Reader on Aesthetics, Literary Structure and Style</source> (<publisher-loc>Washington</publisher-loc>: <publisher-name>Georgetown University Press</publisher-name>, <year>1964</year>), p. <fpage>84</fpage>.</citation></p></fn><fn id="fn05" symbol="5."><label>5.</label><p>For a detailed discussion see <citation id="ref005" citation-type="book"><name><surname>Rozik</surname><given-names>Eli</given-names></name>, <source>The Language of the Theatre</source> (<publisher-loc>Glasgow</publisher-loc>: <publisher-name>Theatre Studies Publications</publisher-name>, <year>1992</year>), pp. <fpage>18</fpage>–<lpage>29</lpage></citation></p></fn><fn id="fn06" symbol="6."><label>6.</label><p><citation id="ref006" citation-type="book"><name><surname>Langer</surname><given-names>Susanne K.</given-names></name>, <source>Philosophy in a New Key</source> (<publisher-loc>Cambridge, Mass.</publisher-loc>: <publisher-name>Harvard University Press</publisher-name>), <year>1976</year> [1942]), pp. <fpage>26</fpage> ff.</citation></p></fn><fn id="fn07" symbol="7."><label>7.</label><p><citation id="ref007" citation-type="other"><name><surname>Rozik</surname></name>, <italic>The Language of the Theatre</italic>, pp. <fpage>1</fpage>–<lpage>17</lpage>.</citation></p></fn><fn id="fn08" symbol="8."><label>8.</label><p><xref ref-type="bibr" rid="ref007">Ibid.</xref>, pp, 14–15.</p></fn><fn id="fn09" symbol="9."><label>9.</label><p><xref ref-type="bibr" rid="ref007">Ibid.</xref>, pp. 15–17 and 30–40.</p></fn><fn id="fn10" symbol="10."><label>10.</label><p>In decoding iconic signs on the grounds of similarity, the degree of detail/fullness or stylization is disregarded.</p></fn><fn id="fn11" symbol="11."><label>11.</label><p><citation id="ref008" citation-type="book"><name><surname>Elam</surname><given-names>Keir</given-names></name>, <source>The Semiotics of Theatre and Drama</source> (<publisher-loc>London and New York</publisher-loc>: <publisher-name>Methuen</publisher-name>, <year>1980</year>), p. <fpage>22</fpage>.</citation></p></fn><fn id="fn12" symbol="12."><label>12.</label><p><citation id="ref009" citation-type="book"><name><surname>Plato</surname></name>, <source>Republic 10</source>, translated by <name><surname>Halliwell</surname><given-names>S.</given-names></name> (<publisher-loc>Warminster</publisher-loc>: <publisher-name>Aris & Phillips</publisher-name>, <year>1988</year>), p. <fpage>39</fpage>.</citation></p></fn><fn id="fn13" symbol="13."><label>13.</label><p><citation id="ref010" citation-type="other"><name><surname>Rozik</surname></name>, <italic>The Language of the Theatre</italic>, pp. <fpage>104</fpage>–25</citation>. States's notion of ‘convention’ is different: it refers to what has become usual and, therefore, unnoticed.</p></fn><fn id="fn14" symbol="14."><label>14.</label><p><xref ref-type="bibr" rid="ref010">Ibid.</xref></p></fn><fn id="fn15" symbol="15."><label>15.</label><p><xref ref-type="bibr" rid="ref010">Ibid.</xref>, pp. 151–2.</p></fn><fn id="fn16" symbol="16."><label>16.</label><p><citation id="ref011" citation-type="book"><name><surname>Shklovsky</surname><given-names>Victor</given-names></name>, ‘Art as Technique’, in <source>Russian Formalist Criticism: Four Essays</source>, translated by <name><surname>Lemon</surname><given-names>Lee T.</given-names></name> and <name><surname>Reis</surname><given-names>Marion J.</given-names></name> (<publisher-loc>Lincoln</publisher-loc>: <publisher-name>University of Nebraska Press</publisher-name>, <year>1965</year>), p. <fpage>12</fpage>.</citation></p></fn><fn id="fn17" symbol="17."><label>17.</label><p><citation id="ref012" citation-type="book"><name><surname>Scheler</surname><given-names>Max</given-names></name>, <source>Selected Philosophical Essays</source>, translated by <name><surname>Lachterman</surname><given-names>David R.</given-names></name> (<publisher-loc>Evanston, Ill.</publisher-loc>: <publisher-name>Northwestern University Press</publisher-name>, <year>1973</year>), p. <fpage>143</fpage></citation>. Quoted by States, p.23, note 8.</p></fn><fn id="fn18" symbol="18."><label>18.</label><p><citation id="ref013" citation-type="book"><name><surname>Frye</surname><given-names>Northrop</given-names></name>, <source>Anatomy of Criticism</source>. (<publisher-loc>Princeton, New Jersey</publisher-loc>: <publisher-name>Princeton University Press</publisher-name>, <year>1957</year>), pp. <fpage>33</fpage>–<lpage>52</lpage>.</citation></p></fn><fn id="fn19" symbol="19."><label>19.</label><p>I suggest that theatre semiosis in order to accomplish cognitive functions has to free itself from rhetoric and aesthetics, which I view as dealing with the experience of truth and not truth itself.</p></fn><fn id="fn20" symbol="20."><label>20.</label><p>During my postdoctoral studies in London, 1973–4, I worked in the following theatres: The Shaw Theatre (<italic>Shakespeare's Macbeth</italic>), The Royal Shakespeare Company (David Mercer's <italic>Duck Song</italic>) and The Royal Court Theatre (David Storey's <italic>Life Class</italic>).</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>The Corporeality of the Actor's Body: The Boundaries of Theatre and the Limitations of Semiotic Methodology</title></titleInfo><name type="personal"><namePart type="given">Eli</namePart><namePart type="family">Rozik</namePart><affiliation>Eli Rozik is Professor of Theatre Studies, Tel Aviv University.</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1999</dateIssued><copyrightDate encoding="w3cdtf">1999</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">In recent years, it has been widely suggested that the bodily presence of the actor (and actress) on stage marks the limits and limitations of the semiotic approach to theatre and determines the need for a more complex methodology of research.</abstract><relatedItem type="host"><titleInfo><title>Theatre Research International</title></titleInfo><titleInfo type="abbreviated"><title>Theatre Research International</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0307-8833</identifier><identifier type="eISSN">1474-0672</identifier><identifier type="PublisherID">TRI</identifier><part><date>1999</date><detail type="volume"><caption>vol.</caption><number>24</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>198</start><end>211</end><total>14</total></extent></part></relatedItem><identifier type="istex">F2AFB2D9D662562D106F5AC5E22F2BB5514602A3</identifier><identifier type="ark">ark:/67375/6GQ-2ZQGNH02-Q</identifier><identifier type="DOI">10.1017/S0307883300020824</identifier><identifier type="PII">S0307883300020824</identifier><identifier type="ArticleID">02082</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © International Federation for Theatre Research 1999</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © International Federation for Theatre Research 1999</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/ark:/67375/6GQ-2ZQGNH02-Q/record.json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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