Teatrinės komunikacijos kontūrai

LTStraipsnyje, kuriuo siekiama papildyti Lietuvoje kol kas gana kukliai tyrinėjamą teatro kaip komunikuojančio organizmo sritį, pristatomas amerikiečių teatro semiotiko Keiro Elamo teatrinės komunikacijos modelis. Pasirinkta išsami, pagal italų semiotikos atstovo Umberto Eco „Elementarų komunikacijos modelį“ (1976) suformuota Elamo schema, kuriai prioritetą naudinga teikti dėl orientacijos į pagrindinę teatrinės plotmės komunikacijos savybę – kompleksiškumą. Prasminiais segmentais skaidant tiek išorinę (teatrinę), tiek vidinę (dramatinę) komunikaciją apimantį modelį, apibrėžiama kiekvieno jų įtaka teatrinės komunikacijos procesui. [Iš leidinio]Reikšminiai žodžiai: Kodas; Spektaklis; Teatro komunikacija; Teatro ženklas; Tekstas; Code; Performance; Theatrical communication; Theatrical sign; Text.

ENArticle presents a model of theatrical communication formed by an American theatre semiotician Keir Elam, in which one of the main characteristics of theatrical communication properties – its complexity – is emphasized. The decomposition of the model, involving outer (theatrical) and inner (dramatic) communication, into semantic segments allows defining the influence of each component on the process of theatrical communication. The abundance of performance creators is the primary factor of multi-layer theatrical reality, where a particular contribution of everyone becomes an integral part of the final result. A dramatic segment challenging the creation of a performance, named by Elam as a dramatic context, in this case is considered to be only a counterfort for the completeness of the performance: an intention of a spectator to go to the theatre is initiated not only by dramatic information, but mainly by a signified level of information. The density of signs of the theatrical discourse defined by the school of semiotics indicates the communicative space of the performance – the spectators’ ability to recognize / conceive signs and their systems determines the verification of the communicative process. A spectator is considered to be a subject determining the final meaning of the performance: namely a spectator ensures joining a variety of different messages into an integral text. The model of theatrical communication by Keir Elam, reflecting the complexity of the theatre, serves as a thorough multiple guideline which permits to evaluate a performance as one of the richest forms of communication balancing between multipersonal theatre creators and creative spectators (desirably) becoming their co-authors. [From the publication]