By Susan Melrose
Is "theatre semiology" now heritage? Melrose's booklet argues that theatre perform keeps to use either a fancy net of "spontaneous semiologies" (Bourdieu), and the "arts de faire" (or arts of creating do) defined via Michel de Certeau. In drawing on either the habitus and the "practices of daily life", Melrose makes an attempt to track among demonstrated theoretical fields and fields of perform, a discursive course which would allow a renewed semiotic method of dramatic theatre's assorted economics. Susan Melrose is the writer of "Eating Out".
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Extra info for A Semiotics of the Dramatic Text
In answer to Pavis', and others', accusation of postmodem depoliticisation, what should now operate is a politiCS of modes of representation of theatre, not a hermeneutics of a theatre of representation of the fictional political. This may nevertheless entail a new hermeneutics of political fictions, and in this broader analysis we might attempt to note the ways in which the two 'politicals' intersect, and to what effect for theatre and for the Theatre and Language 45 wider social. One' everyday political option' concerns the ways we conventionally use 'superordinate discourse', to allude metonymically to those judged to be 'like', through reference to the 'typical' instance.
It seems still to be the case that it is felt to be natural that if male, anatomically, then 'should-be-masculine'; if male and 'masculine', then 'masterly', 'dominant', oriented to the exterior, to the rational, where these are always understood in relation to 'naturally occuring' negative categories of 'not male', 'not masculine', 'not masterly', oriented to the interior and the body. So that we effortlessly rehearse this articulation, within micro- and macro-social manifestations of 'ways of seeing' (Berger, 1972), judgements of taste, ethos and attitude (Bourdieu, 1984).
Rational difference and 'truth' The prevailing logic based on an either/or binarism, according to which A's identity was not immanent but able to be discerned through differences from not-A (here female = not male, and is perceived to be male's negative; black is not-white and again the first term is the other's negativity), began to be seen less as a natural system (social in operation), than as an arbitrary symbolic system, derived from our desire itself to note difference as a principle of organisation.