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A semiotic approach to the dramatic ...

Capllonch, Katia.

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A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos".

Record Type:	Language materials, printed : Monograph/item
Title/Author:	A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos"./
Author:	Capllonch, Katia.
Description:	276 p.
Notes:	Adviser: Chad Wright.
Contained By:	Dissertation Abstracts International68-04A.
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3257621

A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos".
Capllonch, Katia.

A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos". - 276 p.

Adviser: Chad Wright.

Thesis (Ph.D.)--The Catholic University of America, 2007.

The most relevant difference between theater and other forms of literature is the unity of text and performance, since performance is implicit in the written text. Pavis indicates that a dramatic text, whatever form it has, cannot be written without the suggestion of a possible representation. However, many studies of drama are limited to the traditional literary analysis, without taking into consideration the virtual performance. Lorca, well ahead of his time and dissatisfied with the Spanish theater of the moment, uses stage directions extensively in his dramas, indicating how his plays should be performed. This study examines this aspect of three of his most complex plays, Amor de Don Perlimplin con Belisa en su jardin, El publico, and Asi que pasen cinco anos.Subjects--Topical Terms:

624011
Literature, Modern.

A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos".
LDR:03284nam 2200313 a 45 001 946397
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035 $a (UMI)AAI3257621
035 $a AAI3257621
040 $a UMI $c UMI
100 1 $a Capllonch, Katia. $3 1269804
245 1 2 $a A semiotic approach to the dramatic text of three plays by Federico Garcia Lorca: "Amor de Don Perlimplin con Belisa en su jardin", "El publico", and "Asi que pasen cinco anos".
300 $a 276 p.
500 $a Adviser: Chad Wright.
500 $a Source: Dissertation Abstracts International, Volume: 68-04, Section: A, page: 1453.
502 $a Thesis (Ph.D.)--The Catholic University of America, 2007.
520 $a The most relevant difference between theater and other forms of literature is the unity of text and performance, since performance is implicit in the written text. Pavis indicates that a dramatic text, whatever form it has, cannot be written without the suggestion of a possible representation. However, many studies of drama are limited to the traditional literary analysis, without taking into consideration the virtual performance. Lorca, well ahead of his time and dissatisfied with the Spanish theater of the moment, uses stage directions extensively in his dramas, indicating how his plays should be performed. This study examines this aspect of three of his most complex plays, Amor de Don Perlimplin con Belisa en su jardin, El publico, and Asi que pasen cinco anos.
520 $a In order to analyze these plays under this new perspective, I use a semiotic approach. Semiotics is the study of signs, and theater by its very nature consists of signs; indeed, everything on the stage is a sign. According to Honzl, "everything that makes up the reality onstage--the playwright's text, the actor's acting, the stage lighting--all these things in every sense stand for other things." Kowzan developed a systematization of the theatrical sign which consists of thirteen different elements--word, tone, mimicry, gesture, movement, makeup, hairdo, costume, scenery, props, lighting, music, and sound--and this careful systematization is used as the basis for this investigation.
520 $a This study examines Lorca's written texts, giving the literary and historical contexts of each play, among other aspects, but my primary purpose is to discuss how the plays are conceived as virtual performances, indicating how the different signs should be presented. Aside from identifying the diverse signs, I explain them within Lorca's complex and personal symbolism. The semiotic approach clarifies, by reinforcing through different signs, an image or concept that might at first seem incomprehensible, thus leading to a more complete understanding of these three plays. My contention is that Lorca's audience, the "receiver" in the theater's communication system, is called upon to take an active role, because a spectacle consists ultimately of signs that need to be deciphered.
590 $a School code: 0043.
650 4 $a Literature, Modern. $3 624011
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
690 $a 0298
690 $a 0313
690 $a 0465
710 2 $a The Catholic University of America. $3 1019220
773 0 $t Dissertation Abstracts International $g 68-04A.
790 $a 0043
790 1 0 $a Wright, Chad, $e advisor
791 $a Ph.D.
792 $a 2007
793 $a Spanish
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3257621