Acceso usuarios
Mariángeles Rodríguez Alonso
Hacia la mitad de la década de los setenta, la escena constituye ya un lugar de integración y diálogo entre los diferentes lenguajes escénicos. Emancipados, pues, los diferentes códigos, será el espectador interpretante el que se sitúe en el centro, como fuerza activa y dinámica. A la era del dramaturgo sucede la del director y, a esta, la del espectador como responsable último de la unidad de sentido de la polifonía de signos que converge en la puesta en escena. El empleo de la semiótica y la semiología en el examen de las nuevas propuestas escénicas revela asimismo el protagonismo del espectador en la articulación del discurso crítico sobre la escena.In the middle seventies, the stage became a place of integration and dialogue of different scenic languages. The codes get their autonomy. The spectator and his ability to interpret take the centre as dynamic and active strength. The age of the author is followed by the age of the stage director, and this is ensued by the age of the spectator as element responsible of the unit of sense of the polyphony of signs that converge on the staging. The use of semiotics and semiology in the exam of the new performances reveals the prominence of the spectator in the articulation of the critical discourse on the stage.
In the middle seventies, the stage became a place of integration and dialogue of different scenic languages. The codes get their autonomy. The spectator and his ability to interpret take the centre as dynamic and active strength. The age of the author is followed by the age of the stage director, and this is ensued by the age of the spectator as element responsible of the unit of sense of the polyphony of signs that converge on the staging. The use of semiotics and semiology in the exam of the new performances reveals the prominence of the spectator in the articulation of the critical discourse on the stage.
