Theory of Performing Arts

What’s in a thang? Dancing to brand image with Miley Cyrus’ multimodal dance spectacle

“…Such instances of memorizing brand signs and inscribing them a new in intersubjective communicative trajectories, again, constitute a pre-reflective mode of creating rapport with a brand’s expressive inventory, not accessible through direct or indirect elicitation methods. This is why the participatory mode whereby the spectacle involves mutually in its structure actors/dancers and audience, as a collective system of enunciation, does not abide by the sender/receiver model and does not concern primarily communication, but stimulation, as argued by Helbo (1987, 2016).…”

Review article

“…Sans doute eut-il ete possible de deroger ä la loi du genre fixee par Genette pour la litterature ecrite et de confronter sur un plan intersemiotique certaines realisations theätrales et les versions filmiques; ainsi le Hamlet theätral de Chereau, ä peine evoque dans 1'ouvrage, gagnerait ä etre rapproche de celui, filmique, de Laurence Olivier dont il se demarque et auquel il se confond en un meme geste; la distance thematique -1'approche se veut politique et pathologique chez Chereau, individualiste et psychanalytique chez Olivier -alterne avec la proximite semiotique: en faisant passer dans le travail de regie les signes de la theätralite elisa-Brought to you by | New York University Bobst Library Te Authenticated Download Date | 5/27/15 11:50 AM la performance, ä l'acte constitutif de la relation spectaculaire, au 'spectateur' modele, au collectif d'enonciation, ä la relation phenomenologique entre le spectateur et l'image scenique (Helbo 1987). C'est dans cette perspective que se sont developpes notamment les travaux de Gaudreault sur la 'monstration' et sur la specificite du recit scenique liee ä la finalite du jeu, de la prestation, de l'acte, 'excluant prestement la piece ecrite qui, par sa nature essentiellement scripturale ne releve pas le moins du monde de la monstration ...' (Gaudreault 1988: 91).…”

The expanding galaxy of performing arts: extending theories and questioning practices

“…The seminal role that semiotics can play in the mapping of performance studies has already been recognized in ground-breaking discussions by early theorists and practitioners in the then bourgeoning field of performance studies, for example in the study by Helbo (1987), who, as early as 1970s and 1980s, discusses the epistemological shifts represented at that time by loosening the dependence on the Saussurean tradition. That not only early performance studies, but also their development into a broader field of analysis has been framed and in some cases revitalised by semiotic approaches is described in particular by Helbo himself in his contribution to this volume and further exemplified by several of the other papers and their respective theoretical basis.…”