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ISSN 1409-6900 | UDK 82+7     Blesok no. 21 | volume IV | June-July, 2001



                     Peer-reviewed journal
Blesok no. 21June-July, 2001
Theatre Theory

The Specific Actor’s Code of Petre Prličko in the Context of Theater Semiotics

p. 1
Biljana Crvenkovska

    At the beginning, we may say that the basic Prličko’s characteristic as an actor, is that he replaces a lot of his speech with gestures or mimics, or more specific – he replaces the linguistic code with the gestual and mimic code. In other words, he’s transcoding the speech into a gesture.
    The German semioticist Erica Fiescher-Lichte, in her work The Semiotics of Theater divides gestual signs in two kinds: those that support the language and those that replace the language. Gestual signs with function of replacing the language have purpose to express/produce meanings that couldn’t be given by linguistic signs (or couldn’t be expressed in full by them). It’s well known how the gesture and the mimics, namely the “body speech” – can say more than words, sometimes.
    According to Erica Fiescher-Lichte, gestual signs that support the language – mainly have two functions: 1) punctuation and 2) illustration of certain point. “The punctuation of the speech includes, in most of cases, accenting or structuring of gestures that emphasize, confirm or interpret further what’s important on the level of linguistic signs. It also includes the gestual signs that have syntactic functions. That occurs when they constantly appear in link with certain syntactic combinations or as their full substitute, or when they appear as locators in certain combinations of noun or pronoun constructions. As for instance, the importance of the intonation in a certain question can be supported by lifting the eyebrows, hands or shoulders; or, in other hand, with emphasizing the progressive intonation in pronouncing of the sentence – or, for instance, in cases when the sentence is grammatically over/finished, but with sustaining the look onto acting partner’s eyes or with the head position that shows it isn’t over yet, etc.”
    So, what’s characteristic for Prličko, is the use of – not only the gestual and mimic signs, but also of the kinesic signs in general. These signs are often supported by paralinguistic signs, and it can be said that that’s typical for Prličko’s acting performance in whole. He implements the gestual and mimic code in numerous ways:
    1. Very often mimics and gestures in those moments of the play when there is no speech involved by play’s default. In those moments the gestures or mimics are used to emphasize or show something that could be whether some internal attribute of the character, or something important for the scene action at the moment. The

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