ABSTRACT
This chapter includes the three such perspectives semiotics, phenomenology and deconstruction are brought to bear upon the exploration of theatre as a specific and concrete reality. The theatre semioticians Elaine Aston and George Savona write, The usefulness of the approach lies in its potential to make us more aware of how drama and theatre are made'. Semiological studies of theatre have been undertaken by a great number of theorists. A systematic and in many ways characteristic work of theatre semiotics is Keir Elam's The Semiotics of Theatre and Drama. Pavis insists, however, that gestus is not lifeless and abstract, not the reified image of a social relation'. The objects of Nietzsche's suspicion are truth', God and religion, and language. Finally, the chapter for the most part has dealt with theatre as a closed system set apart from other concerns and activities.
