Against connotation mania: A contribution to the sociology of theater

Patrice Pavis in his lexicographical definition of the term semiology from 1980, as one of the methodological warnings emphasizes the caution against falling into connotation mania, that is, that interpretive position where every theatrical sign can mean anything. Although Pavis intervened in the th...

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Main Author: Pavlić Goran
Format: Article
Language:English
Published: Akademija umetnosti Univerziteta u Novom Sadu 2020-01-01
Series:Zbornik Radova Akademije Umetnosti
Subjects:
Online Access:https://scindeks-clanci.ceon.rs/data/pdf/2334-8666/2020/2334-86662008030P.pdf
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author Pavlić Goran
author_facet Pavlić Goran
author_sort Pavlić Goran
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description Patrice Pavis in his lexicographical definition of the term semiology from 1980, as one of the methodological warnings emphasizes the caution against falling into connotation mania, that is, that interpretive position where every theatrical sign can mean anything. Although Pavis intervened in the then semiotic debates about the nature of the theatrical sign, the warning can be extended by analogy to the entire period of postmodern theater, or in now classical terminology, to postdramatic theater as such. This paper will show how connotation mania can be avoided by reviving the somewhat stagnant sociology of theater. More precisely, following Löwenthal's approach, the conceptualization of the social aesthetics of theater will be advocated, which, with the help of the historical grounding of insights, will make it possible to avoid the impasse into which the propensity for endless semiosis inevitably leads us.
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spelling doaj.art-9c412ad851834ff398e12d5ef9b449912022-12-21T22:55:48ZengAkademija umetnosti Univerziteta u Novom SaduZbornik Radova Akademije Umetnosti2334-86662560-31082020-01-012020830412334-86662008030PAgainst connotation mania: A contribution to the sociology of theaterPavlić Goran0Sveučilište u Zagrebu, Akademija dramske umjetnosti, Odsek za dramaturgiju, HrvatskaPatrice Pavis in his lexicographical definition of the term semiology from 1980, as one of the methodological warnings emphasizes the caution against falling into connotation mania, that is, that interpretive position where every theatrical sign can mean anything. Although Pavis intervened in the then semiotic debates about the nature of the theatrical sign, the warning can be extended by analogy to the entire period of postmodern theater, or in now classical terminology, to postdramatic theater as such. This paper will show how connotation mania can be avoided by reviving the somewhat stagnant sociology of theater. More precisely, following Löwenthal's approach, the conceptualization of the social aesthetics of theater will be advocated, which, with the help of the historical grounding of insights, will make it possible to avoid the impasse into which the propensity for endless semiosis inevitably leads us.https://scindeks-clanci.ceon.rs/data/pdf/2334-8666/2020/2334-86662008030P.pdfpatrice pavishans-thies lehmannbruce mcconachiepostdramatic theatersociology of theatersocial aesthetics of theater
spellingShingle Pavlić Goran
Against connotation mania: A contribution to the sociology of theater
Zbornik Radova Akademije Umetnosti
patrice pavis
hans-thies lehmann
bruce mcconachie
postdramatic theater
sociology of theater
social aesthetics of theater
title Against connotation mania: A contribution to the sociology of theater
title_full Against connotation mania: A contribution to the sociology of theater
title_fullStr Against connotation mania: A contribution to the sociology of theater
title_full_unstemmed Against connotation mania: A contribution to the sociology of theater
title_short Against connotation mania: A contribution to the sociology of theater
title_sort against connotation mania a contribution to the sociology of theater
topic patrice pavis
hans-thies lehmann
bruce mcconachie
postdramatic theater
sociology of theater
social aesthetics of theater
url https://scindeks-clanci.ceon.rs/data/pdf/2334-8666/2020/2334-86662008030P.pdf
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