Iuri Lótman e a semiótica do teatro

Rodrigo Alves Do Nascimento

doi:10.1590/2176-457339181

Abstract

RESUMO O semioticista Iuri Lótman escreveu contribuições decisivas no campo da semiótica da literatura. No entanto, ao longo dos anos 70 passa a ampliar seu universo de interesses para além do texto literário, trazendo contribuições para os estudos do cinema, das artes plásticas e mesmo das normas de etiqueta da nobreza russa. Neste artigo pretendo introduzir as contribuições de Lótman no campo da semiótica da cena e demonstrar como o semioticista russo realiza reflexões importantes em um campo até então pouco explorado dentro dos estudos semióticos. Ao analisar o caráter do espaço teatral, as relações entre texto e código, o papel da semiótica teatral e do ensemble cênico, Lótman retoma o caminho aberto pelo Círculo Linguístico de Praga e antecipa flancos de interesse que só recentemente seriam explorados pela semiótica teatral.

Highlights

The semiotician Yuri Lotman wrote decisive contributions to the field of semiotics of literature
At the end of Semiotics of the Stage,1 one of Yuri Lotman’s longest essays on the language of the theatre published in 1980, the theoretician concludes his considerations with an impacting affirmation: theatre is a true “semiotic encyclopedia” (LOTMAN, 2002, p.431)
It is curious to note that Semiotic studies until the 1980s did not debate it at length, especially if compared to the volume of studies produced about other semiotic systems, such as the ones of literature, visual arts, and even cinema

Summary

Introduction

The semiotician Yuri Lotman wrote decisive contributions to the field of semiotics of literature. It includes studies on “culture in its most diversified manifestations: theatre, cinema, painting, social behavior etiquette from the nineteenth century, the functioning of the human brain, etc.” (VOLKOVA AMÉRICO, 2012, p.89).19 In 1973 the Russian semiotician had already published a monograph about cinema semiotics and about aesthetic problems in cinema, which reveals the versatility of studies that composed the universe of the Tartu-Moscow Semiotic School (2012, p.91), but Lotman’s disposition to explore fields beyond the traditional and classic literary canon.

Results

Conclusion