hrvatski

Jezik glume

In the 1980s, the decline of the semiotic approach to theatre as communicational art seemed to be inevitable. The emphasis shifted from the study of meanings and messages to phenomenological examination of cognition. Intercultural hermeneutics applied to theatre studies suggested that the perception of the Other makes the perception of the Self more clear. Could it be that the change in the research strategies happened as a result of some scholarly "fashion"? How can it be explained that Interculturalism and Body Politics suddenly became so popular, or that the critique of the ideology of the visible provoked so many fervent discussions within at least three different but connected fields: cultural studies, performance studies and feminist theory? The application of hermeneutics to theatre studies resulted in some groundbreaking works. On the other hand, proliferation of various interpretations of theatrical events as texts of performances - some of them inventive, stimulating and challenging but not always well-grounded - only proves the famous Gadamer thesis from Truth and Method that interpretation could not be but historic because it is related to a specific time and a specific mode of understanding. Any spectator's reading of the theatrical experience is necessarily socially organized, so that the impact of the reception theory and the theory of interpretational community on theatre studies is obvious. This paper deals with the most recent attempts at defining the language of acting while, at the same time, it points at some interesting historical examples that proved to be surprisingly innovative in the approach to theatrical event as a complex phenomenon.

interkulturalna hermeneutika; izvedbena teorija; strukturalna analiza; komunikacijska umjetnost; metateatar

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