BA in Performing Arts

SEMESTER 2

2009-2010 THEATRE SEMIOTICS MODULE HANDBOOK

Module Co-ordinator: Antonios Galeos

Module Descriptor
Title THEATRE SEMIOTICS
Semester & Mode of Study SPRING / Full Time

Code (if known) Credit Rating 10

SHE 3 Level SCQF 9 Level Module Co-ordinator Module Team Pre-requisites Co-requisites Prohibited Combinations

Antonios Galeos

Theatre History / Dramaturgy or equivalent

Aims To introduce students to the theories and methodologies for the analysis of performance and the importance of theatre semiotics

To provide a tool for examining and understanding 20th and 21st century performance
Learning Outcomes On successful completion of the module the student will be able to: L1 Identify and demonstrate label the codes (signs) of
Assessed in this module

A B * *

C D

YES

performance, use the terminology provided by the study of semiotics and analyse a performance through semiotics L2 Develop a systematized analytical method capable of dealing with a range of performance strategies and processes Critically and historically examine a wide variety of theatrical texts and articulate what they mean and how meaning is communicated Understand the key concepts discussed including the relevance of conscious intent in the meaning of a performance. Apply the approaches and methodologies in order to analyse performances. YES YES * * *

L3

L4

L5

YES

A Knowledge and Understanding B Intellectual Skills C Practical Skills D Transferable Skills

Learning Experiences The module will engage the student in the following types of learning experiences: Lectures 24 hours Workshops Independent study Performance attendance Total 24 hours 32 hours 20 hours 100 hours

Assessment Pattern Presentation (40%): Students, in groups of two to four, will share in the class a creative oral presentation as debate with a comparative/ semiotic analysis concentrating on specific theatrical elements on a given topic (the significance of acting, design, music, light, dramaturgy, text etc) in relevant performances. All the presentations will be recorded. Submission date: Week 8 Essay (60%): Students will submit an essay with a critical/ semiotic analysis of a professional production being performed during the period of the course. Length: 2000 words Submission: End of Semester Can this Module be Anonymously marked? Yes If No please provide an explanation.

Content

A historical overview of theories for drama and performance from antiquity to the present (Poetics, High and low art, Hamburg Dramaturgy, Naturalism and on, Bakhtine, Artaud, Brecht, Barthes, Grotowski etc) - The relation and distinction between text and performance. The readings of a play, related to the aesthetic and content needs of performance. - The theatrical sign: Saussurian definition of sign, non- verbal signs, codes, connotation and denotation, theatrical symbols. -The theories of reception, genres and communication: theatre as an art developed in two stages (stage- audience). The major theories and theorists (Aristotle. Lessing, Goethe, Stanislavski, Hugo, Zola, Brecht to the present) covered and their usefulness in the analysis of theatrical culture. -The body of the actor, actor and character, a multiple signs interpretation -Theatre architecture semiotics semiology of theatrical space. - Dramaturgy: deconstructing the text, devising meaning, improvising sentiments, inventing symbols. The new role of the dramaturg in performances with or without text. - Elements of a performance: light, music, costumes, sets, technical devices. The importance of parameters on reception of a spectacle Main Texts

Aston, Elaine and Savano, George: 1991. Theatre As Sign-System, New York: Routledge, Elam, Keir. (2001) The Semiotics of Theatre and Drama, .: , 2000 (Patsalidis Savas , ( Theatre & Theory) (Thessaloniki) University Studio Press (Walter Puchner) 1985 , (Theatre semiotics) Athens Pairidis : Pavis, Patrice, 1982 Languages of the Stage, New York: Performing Arts Journal,. (Aristotle, Poetics) (various editions) (Zoe Samara) 2002 - (Prospective of theatrical text) : , (Athens Greek Letters) T, : 1999(Dimitris Tsatsoulis) , (Semiological Approaches of the Theatrical Phenomenon) : , (Athens Greek Letters) Ubersfeld, Anne: Reading Theatre, University of Toronto Press, 1999 Hamburg Dramaturgy (1982) Dover Publications Schumacher, Claude (ed.) (1996) Naturalism and Symbolism in European Theatre 1850-1918. Cambridge University Press Brecht, Bertolt (1974) . Short Organum for the Theatre. Translated by Myrat, Dimitris. Athens: Plias Styan, J.L. (1981) Modern Drama in Theory and Practice. vol. 1 Realism and Naturalism, vol. 2 Symbolism, Surrealism and the Absurd, vol. 3 Expressionism and Epic Theatre. Cambridge University Press Carlson, Marvin A. (1993) Places of Performance: The Semiotics of Theatre Architecture. Mc Auley, Gay (2000) Space in Performance: Making Meaning in the Theatre University of Michigan Press Other relevant details

Signed

Date

Timetable
Week No Week beginning Workshops/ Tutorials

15 FEB

Lecture 1: Introduction to Semiotics The elements of a performance Lecture 2: Semiotic theory from The Stoics to Saussure and Pierce Lecture 3: Theatre Semiotics: Theoretical Schools Lecture 4: Light Design Lecture 5: Set Design and props Lecture 6: Theatre Architecture Oral Examinations Lecture 7: Historical overview of theories of Drama from Aristotle to Naturalism Lecture 8: Body of the Actor- Theatre Anthropology Lecture 9: Costume Design and Technical aspects Lecture 10: Visual Arts Theories Lecture 11: Audiences Reception Theory Lecture 12: Dramaturgy tut- bibliography

22 FEB

3 4 5 6 7 8

1 MAR 8 MAR 15 MAR 22 MAR 12 APR

tut. Text and performance

tut- References

Tut- Drafting an Essay

26 APR feedback 3 MAY

Tut. Bakhtin/ Artaud

10

Tut. Brecht Tut. - Barthes

11 12

10 MAY 17 MAY

Tut. - Grotowski Tut- Plagiarism

13 14

24 MAY

Independent revision 15 Exam week

TS Week One Introduction to Theatre Semiotics

Main themes/topics for the week
Introduction to Semiotics The elements of a performance

Learning Outcomes
Understand in general what Theatre Semiotics means Understand its use for a drama analysis and a performance observation What are the various elements of a performance and how can they be analysed What is the process of a performance from its conception to the closing night The evolution of drama theories and their concerns over the ages

Key references
Elam. Keir (2001) The Semiotics of Theatre and Drama. . Athens: Ellinika Grammata Puchner, Walter (1985) . Theatre semiotics. Athens: Pairidis

Self study
Read Savvas Patsalidis article and Walter Puchners introduction

TS Week Two The foundations for Theories for Drama and Performance
Main themes/topics for the week
Semiotic theory from The Stoics to Saussure and Pierce

Learning outcomes
Understand the theory of Aristotle and its influence until nowadays Understand the difference between French Classicism and the drama of Shakespeare Understand how Shakespeare influenced Lessing in his perception of drama

Key references
Aristotle Poetics

Hamburg Dramaturgy (1982) Dover Publications

Self study
Read lecture notes in conjunction with key references stated above

TS Week Three Classes of Signs

Main themes/topics for the week
Overview of theatre semiotic theory Peirce: main tenets of his semiotic theory Roman Theories of Drama Lessing/ Hamburg Dramaturgy Light Design 2: Theory and Practice

Main characteristics of Realism and Naturalism and their influence until nowadays Symbolism, Surrealism and the Absurd in the Theatre Expressionism and its influence until know days Brecht and his theory about theatre as part of an aesthetic debate of the 20th century

Learning Outcomes
Understand the main characteristics of Realism and naturalism Understand Surrealism, Symbolism, Absurd and Expressionism and be able to define the differences between them Understand Brechts theory about drama

Key references
Schumacher, Claude (ed) (1996) Naturalism and Symbolism in European Theatre 1850-1918. Cambridge University Press Brecht, Bertolt (1974) . A short Organon for the Theatre. Translated by Myrat, Dimitris Athens: Pias Styan, J.L. (1981) Modern Drama in theory and practice/ vol. 1 Realism and Naturalism, vol. 2 Symbolism, Surrealism and the Absurd, vol. 3 Expressionism and Epic Theatre. Cambridge University Press

Self Study
Review lecture notes in conjunction with the key references stated above

TS Week Four Politics and Drama

8

Main themes/topics for the week

Peirce 2: semiotic theory applied on text Same Time Next Year Renaissance theories of Drama Character Set design 1

Approaches to the study of theatre put forward by the semioticians of the Prague School (Zich, Mukarovsky, Bogatyrev, Honzl) Approaches to theatre study by Tadenzs Kowzan and Anne Ubersfeld Explain how to read a play from visual and literary perspective (setting, stage, directions, structure, names, visualiza the characters, figurative language, allusions, imagery.)

Learning outcomes
Understand the theatre theory of Prague School Understand theatre theory of tadenzs Kowzan and Anne Ubersfeld Be able to read o play in all its visual and literary perspectives

Key references
Elam, Keir (2001) The Semiotics of Theatre and Drama. . Athens: Ellinika Grammata Puchner, Walter (1985) . Theatre semiotics. Athens: Pairidis Ubersfeld, Anne (1999) Reading Theatre. University of Toronto Press

Self study
Review lecture notes and the key reference material listed above . Select a play and read it from a visual and literary perspective

TS Week Five Structural analyses of narratives

Main themes/topics for the week
Pavis: The questionnaire Set Design 2 Neoclassical Theories of Drama Brecht and the new Dramaturg

Explain the Saussurian definition of sign Explain the process of semiotization Syntagmatics, semantics, Pragmatics) Conotations and Denotations of the sign Internal and External Code Analyze theatre code in all its dimensions 9

Learning Outcomes
Understand the Saussurian definition of sign and how this applies to theatre Understand the process of semiotization Understand the difference between Connotations and Denotations Understand what code means, define the difference between internal and external codes and be able to define the theatre code

Key references
Puchner, Walter (1985) . Theatre semiotics. Athens: Pairidis Aston, Elaine/Savano, George (1991) Theatre as Sign-System. N.Y.: Routledge

Self Study
Read lecture notes in conjunction with key references stated above

TS Week Six Performance elements as sign systems

Main themes/topics for the week
Pavis 2: Analysing Performance Costume Design Romanticism Dramaturg and Improvisation

Which are the Theatrical Signs How the acts of actor become signs (the body of the actor, actor and character) The appearance of an actor as a sign

Learning Outcomes
Identify and understand the theatrical signs Understand how the acts of actor become signs Understand how the appearance of the actor is a sign

Key references
Patsalidis, Savas (2000) . Theatre and Theory. Thessaloniki: University Studio Press Puchner, Walter (1985) . Theatre semiotics. Athens: Pairidis

Self study

10

Read lecture notes in conjunction with key references stated above See a performance and try to identify the theatrical signs and the meaning they have

TS Week Seven Oral examination/ Group Project Week TS Week Eight Oppositional Structures
Main themes/topics for the week
Kenneth Burke Theatre Architecture Realism Dialogue

Present and analyse all characteristics of a theatrical sign Present all elements of a performance (light, music.) Discuss how far the theatre code can be a semiotic system

Learning Outcomes
Identify all characteristics of a theatrical sign Identify all elements of a performance Understand the function of theatre code as a semiotic system

Key references
Puchner, Walter (1985) . Theatre Semiotics. Athens: Pairidis Pavis, Patrice (1982) Language of the Stage. N.Y.: Routledge

Self Study
Read lecture notes in conjunction with key references stated above See a performance and prepare for the presentation with a semiotic analysis on specific theatrical elements on a given toric

TS Week Nine The reality effect

Main themes/topics for the week
Greimas Theatre Architecture and the actor Naturalism Deconstruction 1

Explain how a theatre building and its location within a city reflect that societys attitude and concerns

11

Describe the way theatre buildings function to frame the performance event Analyse the nature of the stage and the models of representation it facilitates Present the relationship between the real space of the theatre and the fictional places that are evoked Presentation of the assignment

Learning Outcomes
Understand how theatre buildings reflect the attitudes and concerns of a society Analyse the way theatre buildings function to frame the performance event Analyse the nature of the stage Understand the relationship between real space and fictional places that are evoked

Key references
Carlson, Marvin A. (1993) Places of Performance: The Semiotics of Theatre Architecture Mc Auley, Gay (2000) Space in Performance: Making Meaning in the Theatre. University of Michigan Press

Self study
Read lecture notes in conjunction with key references stated above

TS Week Ten Ideology as aesthetics

Main themes/topics for the week
Ubersfeld Props and Objects Impressionism/ Expressionism Stage Directions

Introduction to what dramaturgy means What a dramaturg is/does Discussion about the new role of the dramaturg in performances with or without text

Learning outcomes
Understand what dramaturgy is Understand all the different roles a dramaturgy has

Key references
Elam, Keir (2001) The Semiotics of Theatre and Drama. . Athens: Ellinika Grammata

Self Study

12

Read lecture notes in conjunction with key references stated above

TS Week Eleven Deconstructing the body

Main themes/topics for the week
Austins speech theory Sound Brecht Deconstructing the performance text

How the dramatic world is constructed How action and dramatic space relate Actant and actantial model Different roles of dramatic language

Learning Outcomes
Understand how the dramatic world is constructed Understand how action and dramatic space relate Analyse the actantial model Distinguish the different roles of dramatic language

Key references
Elam, Keir (2001) The Semiotics of Theatre and Drama. Athens: Ellinika Grammata , (Tsatsoulis Dimitris) . Semiological Approaches of the Theatrical Phaenomenon. Athens: Ellinika Grammata

Self Study
Read lecture notes in conjunction with key references stated above Analyse a text using the above models

TS Week Twelve Theories of reception, genres and communication

Main themes/topics for the week
Roland Barthes Time-montage Theatre Anthropology Omission

13

The dramaturg in devised theatre

Theatre as an art developed in two stages Elements of the communication in theatre The major theories and theorists: Aristotle

Learning Outcomes
Understand the different aspects of theatre as an art Define the elements of communication in theatre Understand the Theory of Aristotle about reception/genres

Key references
Elam, Keir (2001) The Semiotics of Theatre and Drama. . Athens: Ellinika Grammata Aristotles Poetics

Self study
Read the lecture notes and the key references listed above

TS Week Thirteen Postmodernism

Main themes/topics for the week
Helene Cixous Audience Postmodern theories Phenomenology

Learning Outcomes
Understand all the theories stated above Define similarities and differences between the theories

Key references
Hamburg Dramaturgy (1982) Dover Publications Brecht, Bertolt (1974) . a short Organum for the Theatre. Translated by Myrat, Dimitris, Athens: Plias Styan, J.L. (1981) Modern Drama in Theory and Practice (3vol.) Cambridge University Press

Self Study
Review lecture notes in conjunction with key references stated above

14