Please use this identifier to cite or link to this item:https://hdl.handle.net/20.500.12259/40121
Type of publication: Straipsnis Clarivate Analytics Web of Science ar/ir Scopus / Article in Clarivate Analytics Web of Science or / and Scopus (S1)
Field of Science: Menotyra / History and theory of arts (H003)
Author(s): Narauskaitė, Gintarė
Title: Teatro semiotika : kūno semiotizacijos perspektyvos modernaus teatro kontekste
Other Title: Theatre semiotics : the perspective of body semiotization in modern theatre
Is part of: LOGOS. Vilnius : Visuomeninė organizacija "LOGOS", 79 (2014)
Extent: p. 178-186
Date: 2014
Keywords: Teatras;Kūno semiotizacija;Kūno autonomiškumas;Tekstas;Artaud, Brechtas;Modernusis Europos teatras;Lietuvos teatras;Theatre;Body semiotization;Autonomy of body;Text;Artaud, Brecht;Modern European theatre;Lithuanian theatre
Abstract: Straipsnyje aktualizuojamas kūno semiotiškumo diskursas, kurio ištakos siejamos su modernaus, avangardinio teatro eksperimentais ir pasikeitusiu požiūriu į aktoriaus ir literatūrinio teksto funkcijas dramos teatro spektakliuose. Galima pažymėti, kad kūno semiotizacija siejama su E. G. Craigo, V. Mejerholdo, A. Artaud, J. Louis-Barrault, B. Brechto režisūriniais sprendimais. Kiekvienas kūrėjas skirtingai įsivaizdavo aktoriaus kūno funkcijas teatre, tačiau visi režisieriai akcentavo svarbią aktoriaus kūno autonomiškumo tendenciją
The article highlights the discourse of body semiotics, whose origins are associated with the experimentation of modern and avant-garde theatre, as well as, a new approach towards the function of actors and a literary text in theatre performances. Body somatization is seen in the direction of E. G. Craig, V. Mejerhold, A. Artaud, J. Louis-Barrault and B. Brecht. Although the interpretation of body function in theatre differed among artists, all directors pointed out the importance of the autonomy of actor's body. In a modern theatre, the actor's body has turned into an independent element of a theatrical process instead of being merely an illustrator of the meaning presented in the text. This had an influence on E. G. Craig, who created the concept of actor as an "Uber-Marionette". In V. Mejerhold's works, the physical factor gained more importance, since, in the light of the performance, the actor's body had to become a mechanized and geometrized instrument. Furthermore, A. Artaud saw an actor's body as a hieroglyph dissociated from its clear and articulated meaning. J. Louis-Barrault developed the idea of a total theatre. B. Brecht wanted to create a politically engaged theatre and used an actor's body to express and embody political and ideological arguments
Internet: http://vddb.library.lt/obj/LT-eLABa-0001:J.04~2014~ISSN_0868-7692.N_78.PG_155-169
http://litlogos.eu/L79/Logos_79_178_186_Narauskaite.pdf
http://vddb.library.lt/obj/LT-eLABa-0001:J.04~2014~ISSN_0868-7692.N_78.PG_155-169
Affiliation(s): Menų fakultetas
Vytauto Didžiojo universitetas
Appears in Collections:Universiteto mokslo publikacijos / University Research Publications

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