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Le « motif spectatoriel » est récurrent dans la correspondance de cette épistolière graphomane que fut Élisabeth-Charlotte de Bavière, princesse palatine et duchesse d’Orléans. Au-delà de sa fréquentation compulsive des théâtres et de l’éclectisme de son répertoire favori, les lettres que nous avons conservées rendent compte de ses pratiques et de ses réactions de spectatrice sur cinq décennies, constituant pour l’historien de la culture d’Ancien Régime une source sans équivalent. Cet article se propose d’identifier ce qui fait pour La Palatine l’intérêt du théâtre, en tant qu’il est à la fois une activité sociale, un objet de discours et une source de plaisir sensible. Même si elle ne formalise jamais de préceptes critiques, il est possible de repérer certaines tendances. Ses préférences dramatiques révèlent un goût composite, qui combine les principes aristotéliciens à la valorisation galante de l’agrément. Foncièrement incarnée, son expérience du théâtre tend à effacer les critères premiers du bon goût comme distinction sociale et des règles poétiques comme savoir légitimant, pour placer au premier plan l’émoi subjectif qui touche le « cœur » de l’amatrice pendant la séance. Le statut singulier de Madame à la Cour nous invite à interroger la pertinence du cas particulier pour dégager les traits paradigmatiques d’une réception féminine à une époque donnée. Comment faire la part, dans le témoignage de la spectatrice, de ce qui relève d’un habitus socio-genré, d’une individualité idiosyncratique, de la rhétorique épistolaire et des trous de l’archive ? The “spectatorial motif” is a recurrent one in the voluminous correspondence of Elisabeth Charlotte von der Pfalz, Princess Palatine and Duchess of Orléans. In addition to revealing her compulsive passion for theater and the eclecticism of her favorite repertoire, her letters provide a multilayered account of her practices and reactions as a woman theatergoer over five decades, which make them an unparalleled source for the historian of early modern French culture. This article investigates what makes theater interesting for Elisabeth Charlotte, at once as a social activity, an object of discourse, and a source of emotional pleasure. Even though she never formulates theoretical positions, it is nevertheless possible to identify certain tendencies in her theatrical preferences. Her evaluative judgements proceed from a composite taste, which combines Aristotelian precepts with the gallant aesthetics of sensibility. By describing attending the theater as an embodied experience, she tends to underplay the criteria of good taste as social distinction and of poetic rules as worthy knowledge, emphasizing instead the critical value of the subjective emotions of the female amateur’s “heart”. Madame’s particular position at the French court invites us to interrogate the use of a specific case study to identify the paradigmatic features of female spectatorship at a given time. In her accounts, how to differentiate between what is enshrined in a social and gendered habitus, what results from her idiosyncratic personality, what is part of her epistolary rhetorics, and what may be explained by the lacunae in her preserved correspondence?

L’année 1843 marque un tournant dans l’histoire du théâtre français, que Nerval analyse dans sa critique dramatique des années 1844-1846. Le retour de la tragédie y apparaît moins comme une véritable « réaction » que comme le signe l’incapacité du théâtre à produire des formes dramatiques adaptées à son époque. La « réaction » est selon lui un symptôme de l’échec romantique, qui n’est pas parvenu à substituer au théâtre d’Ancien Régime un théâtre moderne., The year 1843 is a turning point in the French theatre’s history, that Nerval considers in his dramatic critic of the years 1844-1846. The tragedy’s return appears to be less a true reaction than a sign of the inability of the theatre to produce dramatic forms adapted to its times. To Nerval, the reaction is the symptom of the romanticist failure, which hasn’t managed to replace the Old Regime theatre by a modern theatre.

Since the turn of the twentieth-century, the presumed invisibility of craft that defines dramatic theatre erases our capacity to usefully theorize the repeated use of a popular script in performance. Lehmann’s postdramatic theatre has further facilitated a segregation between performance and dramatic theatre and current critical frameworks that position staged productions as events necessarily evince a tendency to center historicism as the primary method of critical study for famous plays.This paper suggests that the unrealistic expectation placed on dramatic theatre to represent events, thoughts, and feelings as if they were happening for the first time ignores the latent celebrity power of the oft-repeated play. I wish to isolate the script as an iterative object and interrogate what can be gained by applying object theory to classical drama using Shakespeare, whose status as a literary icon often overrides his unstable theatrical origins, as my case study. Drawing from fan studies and the new materialist idea of vibrant materialism, I suggest that if we view the Shakespeare play as a vibrant, archontic object, scripted performance is not a single event, but a longer entelechial process of materialization that never concludes, but continues to grow and evolve as its own affective archive. The celebrity text, as latent with potentiality as the performing body, not only accrues value as it is repeated, but is agential in transmitting that value to the artists who engage with it.

[spa] Este artículo propone un análisis del género teatral áureo en uno de sus mecanismos retóricos con mayor capacidad performativa: la función dramática oracular a partir de la cual una voz superior -sea un oráculo, un sueño, una voz interior o cualquier otra posesión transitoria- es escuchada simultáneamente por el receptor-personaje y por el receptor-público. El dramaturgo jerarquiza así la heterogeneidad de discursos presentes en el microcosmos de la comedia y, ofreciendo un silogismo epistemológico, incita a actuar directamente al primero y metonímicamente al segundo. La crítica entendida como sabotaje ofrece unas herramientas críticas que permiten desenmascarar los entresijos de estos recursos oraculares que imponen un modelo de mundo a los destinatarios del mayor espectáculo de masas de la temprana modernidad., [eng] This article proposes an analysis of the Siglo de Oro theatrical genre in one of its rhetorical mechanisms with greater performative capacity: the oracular dramatic function from which a higher voice –be it an oracle, a dream, an inner voice or any other transitory possession– is simultaneously heard by the receiver-character and by the receiver-public. The playwright thus hierarchizes the heterogeneity of discourses present in the microcosm of the play and, offering an epistemological syllogism, encourages the first to act directly and the second metonymically. Criticism understood as sabotage offers critical tools that allow to unmask the ins and outs of these oracular resources that impose a world model on the recipients of the greatest mass show of early modernity

Treballs Finals de Grau de Filologia Catalana, Facultat de Filologia, Universitat de Barcelona, Curs: 2018-2019, Tutora: Glòria Casals, Aquest treball té l’objectiu de realitzar una anàlisi de l’obra teatral de Jordi Galceran El mètode Grönholm des d’una perspectiva textual, fent incís en els diferents elements coetanis que presenta i reflexionant en com aquests manifesten una crítica a la societat catalana de finals del segle XX i principis del XXI. En primer lloc, es deixarà clar el context que envoltava la peça dramàtica al moment de la seva publicació i la influència de l’autor a l’hora d’escriure-la. En segon lloc, s’analitzarà el text diferenciant el marc ficcional de la història, presentant l’espai i la localització, dividint l’acció en seqüències i, finalment, assenyalant les característiques més rellevants dels personatges i definint quin paper juguen durant el desenvolupament de l’argument.

À partir de 1892, Feydeau s’impose en France comme le nouveau maître de la comédie-vaudeville. Les théâtres londoniens cèdent à la contagion de son rire en produisant entre 1892 et 1897 quelques-unes de ses pièces, certes soigneusement sélectionnées : The Sportsman, adapté de Monsieur chasse !, The Other Man d’après Champignol malgré lui, His Little Dodge (Le Système Ribadier), A Night Out (L’Hôtel du Libre-Échange) et A Night Session (Séance de nuit). À partir de l’examen des manuscrits soumis au bureau du Lord Chamberlain, notre article se propose d’interroger les stratégies qui permettent aux directeurs et producteurs londoniens de monter des comédies légères qui affichent, avec le nom de Feydeau, leur origine française et leur nature frivole, alors même que ce choix s’avère nécessairement risqué. Comment ne pas heurter, par ces pièces souvent fondées sur un comique grivois et subversif, un Lord Chamberlain hostile à tout signe d’immoralité ? Les manuscrits soumis à sa censure révèlent surtout, dans les textes proposés, une auto-censure préalable, perceptible aux choix des pièces présentées, et aux contorsions des adaptateurs et traducteurs : transpositions de situations, coupes, infléchissements de répliques visent à gommer ou à édulcorer les effets comiques portant sur la sexualité, mais aussi sur les clivages sociaux. Même les traductions les plus fidèles opèrent un décentrement de la situation de départ, modifiant en profondeur la réflexion menée par Feydeau sur les relations amoureuses et les rapports sociaux. Pourquoi monter ces pièces quand même et se confronter sciemment à de tels obstacles ? Peut-être l’inventivité dramatique et rythmique des pièces de Feydeau séduit-elle irrésistiblement les gens de théâtre et le public, comme l’étude de la réception le révèle. Si les adaptateurs sont souvent contraints de réduire le texte de Feydeau, ils y trouvent aussi des moyens d’insérer facilement des numéros clownesques susceptibles de plaire au public britannique. Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! , The Other Man from Champignol malgré lui, His Little Dodge (Le Système Ribadier), A Night Out (L’Hôtel du Libre-Échange) and A Night Session (Séance de nuit). By reviewing the manuscripts submitted to the Office of the Lord Chamberlain, our article proposes to examine the approaches that made it possible for London directors and producers to edit light comedies which, with the name Feydeau, boasted of their French origin and frivolous nature, even when this choice carried inevitable risks. How could they avoid offending a Lord Chamberlain, hostile to any signs of immorality, with these plays, which were often based on subversive and ribald comedy? In each case, the manuscripts submitted for his censorship, in the proposed texts, reveal a prior self-censorship, evident both in the choices of the plays presented, and in the contortions of the adapters and translators: transpositions of situations, cuts and line changes all aimed at smoothing over or toning down the comedic effects relating to sexuality, as well as to social divisions. Even the most faithful translations brought about a shift in the starting situation, profoundly changing Feydeau’s reflections on intimate relationships and social ties. But why edit these plays, and deliberately run into such obstacles? Perhaps the dramatic and rhythmic inventiveness of Feydeau’s plays was an irresistible attraction to both performers and the public, as the study of their reception reveals. Even when adapters were often compelled to reduce Feydeau’s text, they also easily found the means to introduce clownish acts that were likely to please British audiences.

Le statut de George Bernard Shaw comme critique d’opéra — un poste qu’il occupa sous le nom de plume de « Corno Di Bassetto » dans différents journaux tels que The Star et The World — fut quelque peu négligé par les canons du journalisme de la dernière période victorienne. Néanmoins, sa critique des spectacles d’opéra des années 1880-1890 se distingue complètement en tant que discours moderne précoce le plus influent sur le théâtre musical du milieu britannique. Dans le sillage de son enthousiasme précoce pour Wagner — un trait qui imprègne ses textes sur la musique à la fin des années 1800, mais qui déclinera au tournant du siècle — la critique d’opéra de Shaw suggère une nouvelle théorie du drame musical que l’auteur applique méthodiquement à diverses traditions de l’opéra. Pour autant, cette théorie change radicalement lorsque Shaw écrit sur des auteurs français, de Léo Delibes à Jules Massenet et de Georges Bizet à Charles Gounod. Cet essai montre comment la vision du genre de Shaw change après qu’il a développé la théorie de la Force de la vie, qui, à son tour, contraint le lecteur à reconsidérer l’approche de Shaw de l’opéra traditionnel français dans les années 1880-1890. L’étude des évaluations de Shaw de la musique de scène française nous permettra de mesurer sa véritable influence sur la critique d’opéra. The status of George Bernard Shaw as an opera critic—a position he filled under the pen-name ‘Corno Di Bassetto’ in different periodicals such as The Star and The World—has been somewhat overlooked in the canon of late Victorian journalism. However, his critique of the 1880–1890 opera performances stands alone in its own right as the most influential early modern critical discourse on music drama in the British milieu. In the wake of his early enthusiasm for Wagner—a trait that pervades his writings on music during the late 1800s but nonetheless declines with the turn of the century—Shaw’s opera criticism suggests a new theory of music drama the author applies methodically to sundry opera traditions. However, this theory changes dramatically when Shaw addresses French authors, ranging from Léo Delibes, Jules Massenet and Georges Bizet to Charles Gounod. This essay examines how Shaw’s vision of the genre changes after his development of the Life Force theory, which, in turn, compels the reader to reassess Shaw’s understanding of the French opera tradition in the late 1880s and 1890s. This probing into Shaw’s evaluation of French music drama will serve to determine its actual influence on Shaw’s opera criticism.

Este trabalho consiste na análise do espetáculo Romeu e Julieta do Grupo Galpão através do olhar de críticas teatrais. O Grupo Galpão se legitimou no cenário teatral brasileiro no início dos anos 90. O que tornou essa montagem peculiar foi algumas das escolhas realizadas pelo grupo, fato este que fez com que a crítica se interessasse em analisar tal obra, haja vista que a mesma transpõe um clássico para às ruas, o preenchendo com linguagens populares e elementos genuinamente brasileiros. Esta pesquisa ira discorrer acerca da prática teatral do ponto de vista da crítica, prática não usual dentro da academia. O que propomos nesta pesquisa é exatamente voltar o olhar para a crítica, observando suas potências e alcances, ponderando a partir dela a força que a montagem adquiriu com o tempo, vindo a se tornar posteriormente uma obra referência do Romeu e Julieta shakespeariano. This study consists in the analysis of the play Romeo and Juliet performed by Grupo Galpão through the critic’s point of view. The Grupo Galpão legitimated itself in the Brazilian drama scenario in the early nineties. Some of the choices of the troupe made this dramaturgical production unusual, which brought the critic’s attention to analyze the play, considering that it has brought a classic to streets, filling it with popular language and characteristically Brazilians elements. This research will discuss the drama performance based on the critic’s point of view, an uncommon practice at the Academia. We, therefore, propose to look the critics, deliberating its potencies and scope, pondering the strength the play has acquired with time, becoming later a reference of the Shakespearean play Romeo and Juliet. Dissertação (Mestrado)

Straipsnyje aktualizuojamas kūno semiotiškumo diskursas, kurio ištakos siejamos su modernaus, avangardinio teatro eksperimentais ir pasikeitusiu požiūriu į aktoriaus ir literatūrinio teksto funkcijas dramos teatro spektakliuose. Galima pažymėti, kad kūno semiotizacija siejama su E. G. Craigo, V. Mejerholdo, A. Artaud, J. Louis-Barrault, B. Brechto režisūriniais sprendimais. Kiekvienas kūrėjas skirtingai įsivaizdavo aktoriaus kūno funkcijas teatre, tačiau visi režisieriai akcentavo svarbią aktoriaus kūno autonomiškumo tendenciją. Moderniajame teatre aktoriaus kūnas tapo nepriklausomu teatrinio vyksmo elementu, jis daugiau nebebuvo tik teksto reikšmių iliustratorius. Šitaip E. G. Craigas suformavo aktoriaus kaip iškylančio virš marionetės koncepciją. V. Mejerholdo teatre tapo svarbus fizinio lavinimo veiksnys, kadangi bendrame spektaklio peizaže aktoriaus kūnas turėjo virsti mechanizuotu ir geometrizuotu instrumentu. O A. Artaud aktoriaus kūną suvokė kaip hieroglifinį ženklą, atsietą nuo aiškios, artikuliuotos prasmės. J. Louis-Barrault išplėtojo totalaus teatro idėją. B. Brechtas, siekdamas kurti politiškai angažuotą teatrą, norėdamas išreikšti, įkūnyti ir išsakyti politinius, ideologinius argumentus, tokiai raiškai taip pat pasitelkė semiotizuojamą aktoriaus kūną. The article highlights the discourse of body semiotics, whose origins are associated with the experimentation of modern and avant-garde theatre, as well as, a new approach towards the function of actors and a literary text in theatre performances. Body somatization is seen in the direction of E. G. Craig, V. Mejerhold, A. Artaud, J. Louis-Barrault and B. Brecht. Although the interpretation of body function in theatre differed among artists, all directors pointed out the importance of the autonomy of actor’s body. In a modern theatre, the actor’s body has turned into an independent element of a theatrical process instead of being merely an illustrator of the meaning presented in the text. This had an influence on E. G. Craig, who created the concept of actor as an “Über-Marionette”. In V. Mejerhold‘s works, the physical factor gained more importance, since, in the light of the performance, the actor’s body had to become a mechanized and geometrized instrument. Furthermore, A. Artaud saw an actor’s body as a hieroglyph dissociated from its clear and articulated meaning. J. Louis-Barrault developed the idea of a total theatre. B. Brecht wanted to create a politically engaged theatre and used an actor’s body to express and embody political and ideological arguments.

Desde 1896 hasta 1916, Emilia Pardo Bazán colaboró periódicamente en el semanario barcelonés La ilustración artística con una sección fija titulada «La vida contemporánea». Este trabajo se centra en la crítica teatral que la autora vertía en estas crónicas. Asimismo, al final se recoge un índice temático de aquellas colaboraciones en las que trataba sobre cualquier aspecto relacionado con las artes escénica. Abstract: From 1896 to 1916, Emilia Pardo Bazán collaborated regurarly in the weekly from Barcelona La ilustración artística with a permanent column entitled «La vida contemporánea». This work focuses on the theatrical criticism that the author poured into these chronicles. Also, at the end, I give a thematic index of those collaborations in which it was about any aspect of the performing arts

Ancorando-se nas contribuições de Ubersfeld (2005), Ryngaert (1996, 1998) e Pavis (1999) sobre as noções que configuram o discurso teatral e os personagens; apoiada pelos estudos de Bolognesi (2003), Burnier (2001) e Lecoq (2010) acerca da configuração do palhaço e do universo circense, bem como na crítica biográfica, especialmente Souza (2002) e Chaia (2002); Said (2005) sobre o intelectual subalterno, esta pesquisa tem como objeto de análise o texto Balada de um palhaço, de Plínio Marcos, escrito em 1986. Após vivências no período de repressão, o dramaturgo brasileiro incursiona suas produções a uma vertente mística, permeada de idealismo filosófico. Importa mencionar que os traços biográficos que constituem a vida do escritor são de extrema importância, devendo ser tomados como parte desse conjunto que redesenha vida e obra. Assim, a peça Balada de um palhaço (1986) surge como uma meditação sobre a atividade artística, em exercício de metalinguagem. Nesse segmento, o objetivo da pesquisa é traçar o perfil dos personagens Bobo Plin e Menelão, de modo a estabelecer considerações acerca dos conceitos e configurações de palhaço e suas relações com o universo circense, com o bufão e a Commedia dell’arte; a crítica biográfica e o intelectual subalterno, bem como homologias entre as estruturas artísticas e a estrutura social brasileira, ressaltando as ligações entre o discurso e a ideologia presentes na obra e, dessa forma, trazer à baila a discussão acerca da disparidade artística: arte por ideal ou arte como produto mercadológico. O primeiro capítulo “Balada do palhaço: as configurações do avesso de si” abarca o percurso do universo circense no âmbito mundial e nacional, bem como os conceitos, as configurações do palhaço e suas relações com o corpo bufonesco e a Commedia dell’arte. O segundo “Do circo à vida e da vida à ficção: a balada biográfica (auto) ficcional de Plínio Marcos” trata acerca da crítica biográfica, das relações da vida e a produção artística do autor, da memória como recurso artístico e, ainda, posição desse artista enquanto intelectual subalterno. “Na coxia do circo: as relações de poder sob a lona”, terceiro capítulo, focaliza os personagens Bobo Plin e Menelão, as relações de poder e de oposição, a ideologia e pensamentos sócio-político-econômicos presentes nos discursos, bem como a escolha do cenário e a presença dos recursos melodramáticos nas cenas. Anchoring on the contributions of Ubersfeld (2005), Ryngaert (1996, 1998) and Pavis (1999) on the notions that shape the theatrical discourse and characters; supported by studies Bolognesi (2003), Burnier (2001) and Lecoq ( 2010) about the configuration of the universe clown and circus, as well as biographical criticism, especially Souza (2002) and Chaia (2002), Said (2005) on the intellectual inferior, this research aims to analyze the text of Balada de um palhaço, Plinio Marcos, written in 1986. After experiences in the period of repression, the Brazilian playwright penetrates his productions to a mystical, permeated with philosophical idealism. It is worth mentioning that the biographical traits that constitute the writer's life are extremely important and should be taken as part of this set that redraws life and work. Thus, the play Balada de um palhaço (1986) emerges as a meditation on the artistic activity, in exercise of metalanguage. In this segment, the objective of the research is profiling the characters Bobo Plin and Menelão, to establish considerations about the concepts and configurations clown and his relationship with the universe circus, the clown and Commedia dell'arte; biographical criticism and intellectual inferior, and homologies between artistic structures and Brazilian social structure, stressing the links between discourse and ideology in the present work and thus bring up the discussion about the disparity art: art for art as ideal or product marketing . The first chapter "Balada de um palhaço: as configurações o avesso de si" route covers the universe circus at the global and national levels, as well as the concepts, settings Clown and his relationship with the body bufonesco and Commedia dell'arte. The second “Do circo à vida e da vida à ficção: a balada biográfica (auto) ficcional de Plínio Marcos" is about the biographical criticism, the relations of life and artistic production of the author's memory as artistic resource and also position this artist as intellectual inferior. “Na coxia do circo: as relações de poder sob a lona”, the third chapter focuses on the characters Bobo Plin and Menelão, relations of power and opposition, the ideology and thoughts socio-politico-economic discourse in the present as well as choice of scenery and the presence of resources in melodramatic scenes.

The Maryland Institute for Technology in the Humanities and the Theatre Department at the University of Maryland in College Park want to set up CAMP, a Collaborative, Ajax-Based, Modeling Platform. As the name suggests, this tool is an open source, collaborative, 3d modeler that will allow users with very little experience to generate a 3-dimensional model in their web browser which they can then allow other users to both view and edit. The tool will initially be used to construct an international database of pre-19th century theater buildings, but will be intentionally generic so that scholars interested in structures of any sort can easily port it into their own projects.

The Electronic Broadway Project, based at the Maryland Institute for Technology in the Humanities (MITH), seeks to create an interface for electronic editions of musical theater texts and, as a prototype, develop an electronic edition of the new Broadway musical Glory Days. We will also explore, in this project, the problem of editing a text that was mostly composed electronically. Like so many new literary works, Glory Days was written using digital tools (Word processors, digital music recorders, etc) and so the primary sources are, in many cases, preserved as bits on magnetic media rather than as ink on paper.

My dissertation interrogates theatre and performance theory through the lens of recent developments in cognitive science. I explore the power of poetry in performance to illuminate the connection and seams between body and language, actor and character, fact and fiction. I reexamine some of the work of new critics and new historicists given the latest developments within neuroscience and suggest a path of integration between the sciences and literary and theatre theory. Rather than simply referencing scientific research as supplemental evidentiary material to a re-reading of Hamlet& lt;i>, I investigate how cognitive science can unveil Shakespeare's textual theatrics and spot light blind spots in theatre and performance theory

Advisor: Benedikts Kalnačs

El presente trabajo pretende ofrecer una visión panorámica de las principales revistas editadas actualmente en España cuyos contenidos se relacionan con el ámbito del teatro. Se reflexiona, en el inicio del mismo, sobre la actividad intelectual surgida en torno a estas revistas y publicaciones regulares, insertando dicha actividad el campo de la crítica teatral, parcela específica, a su vez, de la epistemología del teatro. En su desarrollo, el estudio atiende a varios objetivos, que van desde la enumeración de las revistas teatrales de mayor relevancia en el panorama crítico español de nuestros días (para lo que se agrega a la mención de cada revista su dirección de correo electrónico y su página web), hasta la sucinta reflexión sobre las diferencias (de fines, expectativas y entidad) existentes en el conjunto notablemente emplio que se cataloga. En relación con este último objetivo, el presente trabajo contiene una sistematización de las publicaciones periódicas más importantes, bien sea por su influencia efectiva en la información y reflexión sobre el hecho teatral, bien por su implantación en los distintos sectores científicos, académicos, profesionales, institucionales, etc. Del análisis practicado se extrae la conclusión de que la cantidad y variedad de las revistas dedicadas hoy en España al teatro constituyen, por sí mismos, factores de carácter eminentemente positivo y esperanzador.

El presente trabajo contiene una sistematización de las publicaciones periódicas posteriores a 1990 y relacionadas con la investigación teatral, ofreciendo la mención y datos de las que son consideradas más relevantes, tanto por su influencia efectiva en la información y reflexión sobre el hecho teatral, como por su capacidad de hacerse presentes a las comunidades científica, académica y profesional implicadas en dicha temática. Ateniéndose a los criterios de selección y ordenación que se exponen en la introducción del estudio, éste ofrece una catalogación complementada por los datos y direcciones de cada revista o publicación, a fin de asegurar el deseable contacto postal o informático entre el lector del trabajo y la publicación que despierta su interés. Por otra parte, alternan en la enumeración las revistas impresas con aquéllas que se editan únicamente en soporte informático y, también, con las que aúnan ambos modos de difusión. El ámbito de edición y distribución considerado es el de toda la comunidad teatral hispánica, de modo que, si bien se atiende especialmente a las publicaciones editadas en España y en idioma castellano, se procura otorgar también atención a una parte de las muchas y muy meritorias que se editan en la América de habla hispana, así como a algunas de edición nacional redactadas, bien sea de modo bilingüe o monolingüe, en los idiomas cooficiales de España.

El presente trabajo intenta sistematizar un conjunto de reflexiones destinadas a proveer una consideración teórica de la crítica teatral, que, de un lado, inscriba la actividad crítica en el proceso más amplio de la comunicación teatral y, de otro, contribuya al esclarecimiento de la cuestión relativa a la validez de la crítica como instrumento apto para la metodología del estudio y de la didáctica del teatro, propiciando así su posterior aplicación al análisis de las obras teatrales. El desarrollo del mismo procede, en primer lugar, a diferenciar dos niveles críticos, constituidos respectivamente por las denominadas crítica inmediata y crítica de investigación. La actividad crítica es situada en el ámbito científico de la recepción teatral, concepto éste último a cuya síntesis se procede en líneas generales, exponiendo también los que son considerados aspectos constitutivos del mismo. La inserción de la crítica en la instancia de la recepción teatral se contempla, tanto en su génesis (inscripción en un proceso comunicativo de carácter teatral), como en su posterior sistematización (codificación de una reflexión con base empírica). En su parte central, el estudio lleva a cabo una conceptualización de carácter sistemático, referida a la esencia o naturaleza de la actividad crítica, así como a la determinación de su objeto y de los consiguientes aspectos conformadores del mismo. El trabajo concluye considerando la validez metodológica de la crítica teatral y sistematizando las funciones que pueden derivarse del empleo de las críticas teatrales, en tanto que fuentes de investigación de singular eficacia en los distintos ámbitos y disciplinas relacionados con el hecho teatral.

A digital version of University of California Publications: Classical Studies, Volume 21 (1979). An investigation of the conventions governing the relation between the spoken words of the Greek tragic texts and the probable actions of the characters, with detailed attention to the characters' awareness (aural and visual) of their surroundings and of others present, and to the conventional, stylistic, and psychological factors that may signal reduced awareness and loss of "contact." This work also features a rhetorical analysis of many types of questions, study of roundabout and skewed responses to questions, and study of the delayed execution or ignoring of commands. The interpretations and textual readings of dozens of passages in Aeschylus, Sophocles, and Euripides are discussed. The digital version (prepared May 2008) was produced by scanning and careful proofreading, including re-entry of the Greek in Unicode, so that the text is completely searchable.