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Introduction Theatrical semiosphere: Toward the semiotics of theatre today
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Yana Meerzon
Her research interests include theory of drama and performance, theatre semiotics, theatre and exile, and Russian drama and theatre. Her recent publications include ‘Interpreting diaspora: From accented character to accented audience’ (2005); ‘Aesthetics of utopian performance: Michael Chekhov on sound, sign, and international theatre language’ (2005); ‘Every home is its own private Moscow: Between geopathology and nostalgia in Olga Mukhina's Ю/You’ (2005); and
A Path of the Character: Michael Chekhov's Inspired Acting and Theatre Semiotics (2005).
Published/Copyright:
March 10, 2008
Published Online: 2008-03-10
Published in Print: 2008-01-01
© Walter de Gruyter
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Articles in the same Issue
- Introduction Theatrical semiosphere: Toward the semiotics of theatre today
- Semiotic arts of theatre
- Prague's experimental stage: Laboratory of theatre and semiotics
- A historical outlook on theatrical ostension and its links with other terms of the semiotics of drama and theatre
- Semiotics of nonsemiotic performance
- The end of theatre semiotics? A symptom of an epistemological shift
- Intercultural theory, postcolonial theory, and semiotics: The road not (yet) taken
- Dreams and phantasms: Towards an ethnoscenological reading of the intercultural theatrical event
- The homogeneous nature of the theatre medium
- The semiotics of curtain calls
- Actor-puppet-video projection-spectator-fantasmagorie technologique: Towards a theory for a new theatre genre
- Vital signs
- Présentation
- Paul Ricœur, habitant de ce monde. Les affleurements de la conception peircienne de l'objet du signe et du pragmatisme
- Ricœur and Saussure: On meaning and time
- Discernements et malentendus
- Sémiotique et herméneutique : Le texte et l'action
- Ricœur et la sémiotique : Une rencontre « improbable » ?
- Le parcours du sens : Ricœur et Benveniste
- De la narration à l'action : Inversion du cheminement mimétique ricœurien
- La philosophie face à l'univers des signes : Positions et propositions de Paul Ricœur sur la sémiotique et la sémiologie
Articles in the same Issue
- Introduction Theatrical semiosphere: Toward the semiotics of theatre today
- Semiotic arts of theatre
- Prague's experimental stage: Laboratory of theatre and semiotics
- A historical outlook on theatrical ostension and its links with other terms of the semiotics of drama and theatre
- Semiotics of nonsemiotic performance
- The end of theatre semiotics? A symptom of an epistemological shift
- Intercultural theory, postcolonial theory, and semiotics: The road not (yet) taken
- Dreams and phantasms: Towards an ethnoscenological reading of the intercultural theatrical event
- The homogeneous nature of the theatre medium
- The semiotics of curtain calls
- Actor-puppet-video projection-spectator-fantasmagorie technologique: Towards a theory for a new theatre genre
- Vital signs
- Présentation
- Paul Ricœur, habitant de ce monde. Les affleurements de la conception peircienne de l'objet du signe et du pragmatisme
- Ricœur and Saussure: On meaning and time
- Discernements et malentendus
- Sémiotique et herméneutique : Le texte et l'action
- Ricœur et la sémiotique : Une rencontre « improbable » ?
- Le parcours du sens : Ricœur et Benveniste
- De la narration à l'action : Inversion du cheminement mimétique ricœurien
- La philosophie face à l'univers des signes : Positions et propositions de Paul Ricœur sur la sémiotique et la sémiologie
