Towards a semiotic approach to dramatic texts for the purposes of staging as expounded in the analysis of an early Pinter play: The Dumb Waiter
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
- Authors: Thomas, Jeswinne Mary
- Date: 1999
- Subjects: Uncatalogued
- Language: English
- Type: Master's theses , text
- Identifier: http://hdl.handle.net/10962/193203 , vital:45309
- Description: The aim of this thesis is to promote the dramatological approach, as opposed to a literary critical one, for the analysis of dramatic texts for the purposes of staging. The reason for such a promotion is that the dramatological approach upholds the integrity of the text in interpretation for the performance text by its detailed and semiotic analysis. The focus of such an approach is on the analysis of discourse, that is a micro-proairetic approach (illuminating the extralinguistic action and interaction gained from speech events and deixis), rather than a macro-proairetic approach (that is, plot and story-line) which a literary critical approach would take into consideration. In Chapter one the focus is on the justification for the dramatological approach as well as a review of prominent literary criticism to the playwright’s work (used as an example of dramatic text in this thesis). Rather than the promotion of ordinary literary theory in relation to the need for a performance methodology, explanation for their negation is offered here. Chapter two focuses on the actual methodology of the dramatological approach. In section one of this chapter, we find that basic to dramatological methodology is the linguistic function appropriate to the dramatic: that is the semantic, rhetorical and pragmatic principles of dramatic dialogue. In addition, we find that it is a formal and systematic approach which imposes restrictions on dualisms thereby upholding the integrity of the text. Moreover, that it focuses on the “performative-deictic” character (that is extralinguistic, kinesic and indexical orientations) of the dramatic text - analysis of which is crucial for the purposes of staging. In this way, the analysis of the interpersonal, interactional and contextual areas of dramatic texts is promoted. Thus section one offers an overview of the analytical criteria appropriate to such investigation in order to illuminate dramatic discourse. Section two offers a guide to the application of the methodology, utilizing an extraction of text. Central to the application is the formation of a preliminary analytical ‘grid’ from the range of criteria discussed in section one; that is, how these may be put together. A micro-segmentation of text is utilized to illustrate the application of the methodology. Chapter three offers an application of the methodology to a whole text, that is The Dumb Waiter. The results and benefits for the theatre practitioner of such application are directly illustrated in the deictic (that is section one) and proairetic (that is section two) segmentations of the text since what the text and discourse signify is illustrated in a detailed manner as opposed to paraphrase. That is, the interpersonal, contextual and interactional levels of the drama are defined. From this, typologies of discourse, character and interrelationships are drawn, as well as a creation of the dramatic world (that is section three) constructed as a result of the discourse, interrelationships and dramatic action. Finally the Conclusion offers an evaluation of the dramatological approach by applying it to a practical situation for the theatre practitioner (that is, director or actor). , Thesis (MA) -- Faculty of Humanities, Drama, 1999
- Full Text:
- Date Issued: 1999
The representation of women in the plays of Sam Shepard
- Authors: Volks, Carolyn Dana
- Date: 1994
- Subjects: Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2151 , http://hdl.handle.net/10962/d1002383 , Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Description: In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.
- Full Text:
- Date Issued: 1994
- Authors: Volks, Carolyn Dana
- Date: 1994
- Subjects: Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Language: English
- Type: Thesis , Masters , MA
- Identifier: vital:2151 , http://hdl.handle.net/10962/d1002383 , Shepard, Sam, 1943- -- Characters -- Women , Shepard, Sam, 1943- -- Criticism and interpretation
- Description: In the endeavour to abolish from society all forms of ideologies that prescribe the domination of one sex over another, it has become increasingly important to analyse the representation of women in dramatic literature because dramatic literature reflects the philosophies and codes of behaviour which enable individuals to dominate one another in society, and assists in either reinforcing old ideologies or shaping new ones. Although Sam Shepard has been an influential force in the creation of modern drama, his plays reflect a patriarchal ideology that dictates that women are subordinate to men. Shepard's plays dramatise various male predicaments and his female characters are constructed and utilised to express men's experience, not women's. One of the conflicts which besets the male characters is that they desire to return to the womb of the mother, but simultaneously fear that their identities will be engulfed by the mother. In The Rock Garden, Red Cross and Fourteen Hundred Thousand, these desires and fears are demonstrated through the female characters, who are manipulated to represent objects of male desire and/or objects onto which devouring images are projected. Women are therefore represented in a manner in which they are best able to express the male characters' identity related conflicts. In Curse of the Starving Class and Buried Child, characters suffer from receiving insufficient nurture, are spiritually and emotionally impoverished or cursed and appear unable to transform their lives. The female characters are presented as being partly responsible for causing these predicaments since their nurturing, generative and transformative abilities are presented in a negative light. Women are also represented as objects of blame in the male characters' attempts and failures to undergo rebirths and are once again created to express male predicaments. In Fool for Love and A Lie of the Mind, Shepard focuses on the relationships between men and women, but is only able to present the male characters' perspectives and represent male desire. The female characters are regarded, and engaged with, as reflections of the male characters' selves and are frequently utilised to express male desire. If Shepard's plays are persistently applauded and seen as examples to be emulated, we need to closely analyse these dramas that represent women in a manner which expresses male predicaments and which places them in roles that allow men to dominate them.
- Full Text:
- Date Issued: 1994
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