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作者 Capllonch, Katia
書名 A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos"
說明 276 p
附註 Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1453
Adviser: Chad Wright
Thesis (Ph.D.)--The Catholic University of America, 2007
The most relevant difference between theater and other forms of literature is the unity of text and performance, since performance is implicit in the written text. Pavis indicates that a dramatic text, whatever form it has, cannot be written without the suggestion of a possible representation. However, many studies of drama are limited to the traditional literary analysis, without taking into consideration the virtual performance. Lorca, well ahead of his time and dissatisfied with the Spanish theater of the moment, uses stage directions extensively in his dramas, indicating how his plays should be performed. This study examines this aspect of three of his most complex plays, Amor de Don Perlimplin con Belisa en su jardin, El publico, and Asi que pasen cinco anos
In order to analyze these plays under this new perspective, I use a semiotic approach. Semiotics is the study of signs, and theater by its very nature consists of signs; indeed, everything on the stage is a sign. According to Honzl, "everything that makes up the reality onstage--the playwright's text, the actor's acting, the stage lighting--all these things in every sense stand for other things." Kowzan developed a systematization of the theatrical sign which consists of thirteen different elements--word, tone, mimicry, gesture, movement, makeup, hairdo, costume, scenery, props, lighting, music, and sound--and this careful systematization is used as the basis for this investigation
This study examines Lorca's written texts, giving the literary and historical contexts of each play, among other aspects, but my primary purpose is to discuss how the plays are conceived as virtual performances, indicating how the different signs should be presented. Aside from identifying the diverse signs, I explain them within Lorca's complex and personal symbolism. The semiotic approach clarifies, by reinforcing through different signs, an image or concept that might at first seem incomprehensible, thus leading to a more complete understanding of these three plays. My contention is that Lorca's audience, the "receiver" in the theater's communication system, is called upon to take an active role, because a spectacle consists ultimately of signs that need to be deciphered
School code: 0043
DDC
Host Item Dissertation Abstracts International 68-04A
主題 Literature, Modern
Literature, Romance
Theater
0298
0313
0465
Alt Author The Catholic University of America
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