Abstract
Abstract The American scholar Marvin Albert Carlson (b. 1935), who has taught theatre and drama at Cornell and Indiana University, is perhaps best known for his authoritative contributions to the history of the French, German, and Italian theatre from the eighteenth century onwards. Professor Carlson’s interests have extended from theatre history into the field of theatre theory in general and theatre semiotics in particular. The following essay from his book on the latter subject highlights a hitherto insufficiently theorized aspect of performance.
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