notes///////

FRM THE PREFACE, DE TORO SAYS:

“I felt it was important to introduce studies of this kind in Latin America, a continent where this field was totally unknown at the time. This is why […] I decided to write the book in Spanish, knowing full well that Semiótica Del Teatro would be largely ignored in the non-Spanish world.”

this book was not written for me ~
i am reading translated words
— what has been lost? within the act of rewriting? within the act of redirecting (or rather, expanding upon) the author’s original intent? within the act of my consumption & interpretation of something already reinterpreted?

—

—

pg.4. FRM THE INTRODUCTION

~ theatre is comprised of a multitude of signifying systems that each have a dual function: AS A LITERARY PRACTICE & AS A PERFORMATIVE PRACTICE

~ P A R A L I N G U I S T I C   C O M P O N E N T S
(aspects of spoken communication that do not involve words)

~ dramatic text and performance have equal weight

pg.5. FRM CHAPTER 1: THEATRE DISCOURSE

~ UTTERANCE is what is said that proceeds from la langue
ENUNCIATION is the means & place through which the utterance comes into being

~ producing an utterance is NOT EQUAL TO the text of an utterance

~ BEVENISTE SAYS:

for this act to occur there must exist three formal enunciative processes
A. THE ACT OF SAYING
B. THE SITUATION OF REALIZING
C. THE INSTRUMENTS OF REALIZATION

pg.6.

~ essential to the first part of the process consists of an appropriation of language — that is, the production of an utterance that reveals itself in the very making