Theory of Performing Arts

ISBN 9789027224095 (Eur) | EUR 85.00
ISBN 9781556190148 (USA) | USD 128.00
ISBN 9789027279002 | EUR 85.00 | USD 128.00
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n recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coherence, the spectacle contract.
[Critical Theory, 5] 1987.  viii, 153 pp.
Publishing status: Available
Table of Contents
Cited by

Cited by 5 other publications

1991. a day at the Tibetan opera: actualized performance and spectacular discourse. American Ethnologist 18:4  pp. 643 ff. DOI logo
Helbo, André
2016. Semiotics and performing arts: contemporary issues. Social Semiotics 26:4  pp. 341 ff. DOI logo
Saltz, David Z.
1995. When is the Play the Thing?—Analytic Aesthetics and Dramatic Theory. Theatre Research International 20:3  pp. 266 ff. DOI logo
Sindoni, Maria Grazia & Fabio Rossi
2016. “Un nodo avviluppato”. Rossini’s La Cenerentola as a prototype of multimodal resemiotisation. Social Semiotics 26:4  pp. 385 ff. DOI logo
Sindoni, Maria Grazia, Janina Wildfeuer & Kay L. O’Halloran
2016. The expanding galaxy of performing arts: extending theories and questioning practices. Social Semiotics 26:4  pp. 325 ff. DOI logo

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Literature & Literary Studies


Main BIC Subject

DSB: Literary studies: general

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ONIX Metadata
ONIX 2.1
ONIX 3.0
U.S. Library of Congress Control Number:  87014584 | Marc record