By Herta Schmid, Aloysius Van Kesteren
The amount provides views within the idea of drama and theatre which are new for the subsequent purposes: 1) the contributions replicate the foreign cooperation in constructing drama and theatre in addition to its theories; 2) this assortment is the 1st try of offering papers in the context of (Analytical) concept of technology; three) it's the first constant set of papers ranging from semiotics a s a meta-theory. the amount is split into 4 sections: I primary of Theatre study, II thought of Drama and Theatre, III Descriptive Theatre learn, IV utilized Theatre examine. The 5th and ultimate part deals a selective bibliography of analytical techniques to drama and theatre.
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Extra info for Semiotics of Drama and Theatre: New Perspectives in the Theory of Drama and Theatre
The tradition founded by the writers just mentioned has ceased to flourish among philosophers so far as it involves ( 1 ) . But it is still alive in some quarters. As can be noticed, this stage will be met with when reading Beerling et al. (1978), De Groot (1961), as well as the present study. Theatre Research is a discipline that cannot a f f o r d , in its present state, to omit the stage just rendered. Only some studies instance, reflect this It is even a stage it hardly reached. way of performing science (see for the so called empirical performance analysis such as Schoenmakers, T a n , and Schalzky; by scholars see for a critique, Van Kesteren and Van Stapele 1981c).
Com parable, 2. applicable, 3. criticizable. The three desiderata of the second section are: 1 . an acceptable framework concept must assign a legitimate place to the history of science of theatre study in discus sing the various postulates of its scientific foundation; 2. an accept able framework concept must be conceived in such a way that it limits as little as possible the multiplicity of the admissible postulates of the scientific foundation of theatre study; 3. a postulated framework concept must be criticizable.
Theatre Research lacks in an Ethics. Its praxis is not considered a social process; the results are not considered a social product. In it the opinions and ideals of the theatre scholar about society are not reflected. It is directed towards maintaining the status quo, and therefore Theatre Research is a static discipline. However, it will not be enough to just criticize the state of affairs within this 'Imitative' Theatre Research. They will have to be followed by some proposal. In fact they have been succeeded by five more, concerning 'On What Theatre Research Ought To Be'.