„Criza” reprezentării şi limitele semioticii: performance contemporan
The crisis of representation and the limits of semiotics: contemporary performance

Summary/Abstract: Prefigured since antiquity (Lucian of Samosata 2009, Augustin 2002), the semiotics of the performing arts is very much indebted, in the 1970s and even after that, to the linguistic paradigm of structuralism. It has the advantage of having changed the perspective on the aesthetic object, but also the disadvantage of not being able to seize some aspects specific to the performing arts. The Semiotics of performance emerges with the awareness of its vulnerability, of the methodological risk to which it is exposed by "this tendency to reduce all the problems of sign to language" (Kowzan 1968). However, later contributions ingeniously used some acquisitions of linguistics and structuralism. The transformations of artistic practice – the "avant-garde" after 1960 – imposed an adaptation of theoretical discourse. The new semiology dialogues with performance theory, communication theories, pragmatics and speech acts theory, reception studies, reader-response, theatrical anthropology. In the face of the versatility of its "object", it remains to be seen whether, playing the card of maximum adaptability, semiotics will be able to truly maintain its "universalizing vocation" (Helbo 2016).

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