1983: Núm.: 23

Bibliografia teatral catalana, 1980-1981

2022-12-31T07:03:20Z

Bibliografia teatral catalana, 1980-1981 Equip Editorial,

Futur de l’espectador davant l’espectacle

2022-12-31T07:03:20Z

Futur de l’espectador davant l’espectacle Fàbregas, Xavier

Cinema, drama and television are languages composed of some groups of signs, and we will only be able to know the specific character of each entertainment if before we can define them separately. Between drama and cinema, we must place another kind of entertainment which acts as a link from the semiotic point of view, the shades: Performance/Reproduction and Actor - Object/Image of Actor or Object become the factors to combine. Starting from here, we can set up seven binary constructions which will enable us to judge the relation of the audience with every kind. of entertainment. Although we accept the relative value of the data, it is possible to get a graph from the participation's values of the audience in every considered entertainment: television shows an inflexion of the graphic line towards the return to an immediacy of the audience in front of the entertainment (being that of the cinema the farthest point on the graph) but in exchange it destroys the audience in its capacity as member of a social class.

Fenomenologia i semiòtica del teatre

2022-12-31T07:03:18Z

Fenomenologia i semiòtica del teatre Marty, Robert

This article attempts to show that Ch. S. Peirce's phenomenology and semiotics can help in approaching in scientific terms the theory of drama (and more generally speaking of entertainment), thus providing an answer to Antonin Artaud, who called for the elaboration of a coded language, comparable to a musical transcription.

A brief summary of the peircean phenomenology enables us to model the articulation of production and interpretation around performance, and shows the essentialles triadic character of the phenomenology of drama.

Semiotics, used here in as much as it relates to drama. is a means of formalizing, for instance, the triads of the interpretation into different signs (in this case, legisign). We can then describe each of them using a numerical system of notation and a new combinatorial expressed in terms of a non linear order structure (a lattice). We then briefly introduce a modelling of the processes by which meaning is established, using the concept of semiosis, as a convergent sequence of successive interpretations. Finally, a formal structure of algebraic totalization can aggregate (synchronically) the constituent signs of dramatic complexity, at any given time, into a global meaning sign; it also enables us to describe the diachronic transformation of the same meaning with the gradual elaboration of new signs on the stage.

As a conclusion, it might seem that the formal structure presented is still too powerful to do justice to the full complexity of drama however, it is possible to improve it and it may be able to reach the highest degree of sophistication with the help of the people involved.

Josep M. de Sagarra, traductor

2022-12-31T07:03:19Z

Josep M. de Sagarra, traductor Alcover Vidal, Jaume

The translation of a language into another one has always pursued the aim to incorporate, for whatever reason it may be, a work belonging to a certain language and culture into the translator's language and culture; the accuracy with which this task is done has changed a great deal in the course of the centuries: it has become more rigorous eventually, so that this excess of rigour has ended up by ruining the translator's normal purposes, that's to say, to get either .the readers or the audience to understand the work's deep, last content. Josep M. de Sagarra's sensibility has understood from the beginning the risk of reaching this extremity; his translations of Shakespeare are a real Catalanisation of this English playwright, without betraying at all his thought, but making it suitable for our country's scenery. That is what the analysed fragments show, specially the difficult version of Mistress Mine from the Magi's Night. A perfect fluency in Catalan, both in prose and verse, has been the tool which has enabled Sagarra to carry out his task with absolute guarantee of success, and so has been proved by the performance of any of his versions of Shakespeare.