THEORY OF PERFORMING ARTS -- Editorial page -- Title page -- Copyright page -- Table of contents -- Foreword -- I. CRITICAL THEORY AND PERFORMING ARTS -- 1. A general socio-semiotic model -- 1. The discourse of social sciences -- 1.1. The negative image of semiotics -- 1.2. Actualization - Natural language (langue) and speech (parole) -- 1.3. Language and society -- 1.4. The relational structure -- 1.5. Enunciation -- 2. Methodology. Spectacular discourse -- 2.1. The polysemy of convention -- 2.2. Arbitrariness and observation -- 2.3. The possible world -- 2.4. Persusasive and interpretative doing -- 2.5. Modalities -- 2.6. Specific rhetorics -- Note of the translator -- Notes -- 2. Towards a theatre semiotics -- Notes -- 3. Theatrology and literary studies -- 1. What is theatrology? -- 2. Theatrical production -- 2.1. Identification -- 2.2. Differentiation -- 2.3. Text and performance -- 3. Theatrical reception -- 4. Montage -- Notes -- II. FUNDAMENTAL CONTROVERSIES -- 1. Research methodology -- 1. General survey -- 2. Semiotics of theater -- 3. Relationships to other scientific disciplines -- 4. The scientific quest -- Note -- 2. Communication and cognition -- 1. The validity of the rubrics -- 2. The relevance of the concept of stimulation -- 3. Relevance of the concept of communication -- Notes -- 3. Pragmatics and discourse -- 1. A double delegation process -- 2. Enunciation instances -- 3. Ponendo tollens -- Notes -- 4. The code, irrelevant concept? -- 1. The icon -- 2. The index -- 3. The signal -- 4. The symbol -- 5. Stereotypes -- Notes -- III. NEW PERSPECTIVES AND NEW INSTRUMENTS -- 1. The visual paradigm and the scene -- 1. Process of an encounter -- 2. Semiology of the image -- 3. Visual semiotics -- 4. The theatrical text -- 4.1. Plastic materiality -- 4.2. On the relationship premanifested-linguistics-iconics.

4.3. On the verbalization of the figurated -- 4.4. On codes -- Notes -- 2. Readable and visible dimensions. Opera and theater. -- 1. Definitions. Why is opera theory relevant to theatrology? -- 2. Theater -- 3. Opera -- 4. The emancipated image -- 5. Enunciated historicity -- 6. A poetics -- 3. Reception and relation -- 1. Mask, otherness -- 2. The theatrical object -- 3. System of the game -- 4. Approach of the theatrical game -- Notes -- 4. Constructing coherence -- 1. Methodological premises -- 2. The spectacular text -- 3. The components of the spectacular text -- 4. Pragmatic study of the spectacular text -- 5. Contextual study of the spectacular text -- 6. Text and coherence -- 7. Conclusion -- 5. The spectacular paradigm -- Notes -- References.