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ISSN 1409-6900 | UDK 82+7     Blesok no. 35 | volume VII | March-April, 2004



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                     Peer-reviewed journal
Blesok no. 35March-April, 2004
Theatre Theory

Figure

– From Paragrami tela/figure (book on the theory of theater) –


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p. 1
Miško Šuvaković

3.2.1 Concepts of Figure

Figure (figure = shape, face, image) is a visual-spatial-temporal-corporal-behavioral (semiotic, semiological) and linguistic representation of human, animal or fictional body in theater. The figure is:
    1. traditional way of mediation and exchange between the concept of being and artistic, theater or textual formalization (rhetoric sub-determination) of the body as an art form,
    2. modernistic autonomous genre of configuring the representation and expression of the subject on stage, and
    3. postmodern poly-genre complex of eclectic, citation, collage-montage and simulation ways of showing the hypothesis of the theater subject.
    In western civilization, figure has the character of a social ideological hieroglyph or more precisely, a coin in the exchange of meanings, senses and values in the society of production, exchange, communication and expenditure. The exchange of meanings, senses and values in the society is done by conventionalization of the nature of the body and the naturalization of the convention of exchanges. The theater figure in the western civilization is always determined by a meta-interpretative circling of the empirical horizon of perception to the ideological borders of the rhetorical conventions of the culture, the works of theater, school, fashion or individual theater expression. The figure is a real or fictional body mediated via the material codes of culture. At the same time, it is a represented object (postponed representation of the body) and a present object (here – the presence of the theater spatial, linguistic, semiological form,). The figure is at the same time the signifier and the signified, sign (hieroglyph, ideographic writing) and a visual, spatial, corporal, behavioral, linguistic and semiological text. It is a real place of ontological presence of the determined, for example, theater substance and its own simulacrum. The figure relativizes the borders between the presence (ontology) of the body and the effect of the presence (representation) of the body. Figure is a historical formation that is shaped and brought to a finished, closed concept with shaping of the ideology (subjectivity, rationality, imperialism, falocentrism) of the European humanism. Figure is an empirical horizon of the visual (“That is how I see you!”, “That is how you see me!”, “That is how I see the world!” etc), a rhetorical system of transformation of the ideological sub-determinations of the subject as a net of the subjectivity and rationality of the perception and representation of the body.
    The concept of the theater figure is determined by the following aspects in the scope of






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