BOOK COVER -- HALF-TITLE -- TITLE -- COPYRIGHT -- CONTENTS -- PREFACE -- 1 TOWARD A THEORY OF CULTURE AND MISE EN SCÈNE -- A SATURATED THEORY -- AN HOURGLASS READY FOR EVERYTHING -- CAVITY, CRUCIBLE, CROSSING, CROSSROADS -- CULTURE AND ITS DOUBLES -- Culturalist premises -- Definition 1 -- Definition 2 -- Definition 3 -- Definition 4 -- Definition 5 -- Sociohistorical premises -- NOTES -- BIBLIOGRAPHY -- 2 FROM PAGE TO STAGE: A DIFFICULT BIRTH -- PRELIMINARY REMARKS -- DENIALS -- MISE EN SCÈNE AS A MEANS OF MODULATING THE RELATIONSHIP BETWEEN TEXT AND PERFORMANCE -- Stage enunciation and the concretization circuit -- Verbal and non-verbal: Reading actualized -- Change in perspective -- Metatext or discourse of the mise en scène -- Mise en scène as discourse on emptiness and ambiguity: Imaginary solution and parodic discourse -- A TYPOLOGY OF MISES EN SCÈNE? -- (PROVISIONAL) CONCLUSIONS -- MARGINS -- Margin 1 -- Margin 2 -- Margin 3 -- Margin 4 -- Margin 5 -- Margin 6 -- Margin 7 -- Margin 8 -- Margin 9 -- Margin 10 -- Margin 11 -- NOTE -- BIBLIOGRAPHY -- 3 THE CLASSICAL HERITAGE OF MODERN DRAMA: THE CASE OF POSTMODERN THEATRE -- CLASSICAL WORK OR MODERN TEXT? -- The Work and the Text -- The impossible unitary space -- New relationship to the classical work -- Infusing, decentering, undoing the rhythm -- INHERITANCE OR MEMORY -- Bourgeois or socialist heritage -- Tradition and traditions -- The heritage of postmodern theatre -- MODERN OR POSTMODERN THEATRE -- The postmodernization of works -- Some tendencies in postmodern theatre -- NOTES -- BIBLIOGRAPHY -- 4 ON THEORY AS ONE OF THE FINE ARTS AND ITS LIMITED INFLUENCE ON CONTEMPORARY DRAMA WHETHER MAJORITY OR MINORITY... -- THEORY AND MINORITY -- Meaning of 'theory' -- Meaning of 'minority' -- Theory: minoritarian or minor art? -- New majorities in contemporary theatre theory.

THEORY AS ONE OF THE FINE ARTS -- The pleasures of theory -- The place of theory -- Crisis of semiotics -- Theory overflowing into practice -- LIMITED BUT PERCEPTIBLE INFLUENCE -- Influence on majority dramaturgy -- Commercial majority -- Ideological majority -- National majority in the mise en scène of classics -- Influence on minority dramaturgy -- Minority of the avant-garde -- Cultural minority -- APPENDIX -- NOTES -- BIBLIOGRAPHY -- 5 THEATRE AND THE MEDIA -- SPECIFICITY AND INTERFERENCE -- THEATRE WITHIN A THEORY OF MEDIA -- Mediatization of theatre -- Media in relation to theatre -- Quantification and massification -- Theatre, media and the spectacular -- The double game of the media…and theatre -- DRAMATURGY AND SPECIFICITY OF THE MEDIA -- The damaturgy of radio -- The dramaturgy of television -- The dramaturgy of video -- Specificity of radio -- Specificity of television -- Specificity of video -- Fictional status of the media -- INTERFERENCES BETWEEN MEDIA -- Theatre ==› Radio -- Theatre - -› Radio -- Radio ==› Theatre -- Radio - -› Theatre -- Radio ==› Cinema -- Radio - -› Cinema -- Cinema ==› Radio -- Cinema - -› Radio -- Cinema ==› Video -- Cinema - -› Video -- Video ==› Cinema -- Video - -› Cinema -- Video ==› Television/Video - -› Television -- Television ==› Video/Television - -› Video -- Television ==› Theatre -- Television - -› Theatre -- Theatre ==› Television -- Theatre - -› Television -- Theatre ==› Video -- Theatre - -› Video -- Video ==› Theatre -- Video - -› Theatre -- Theatre ==› Cinema -- Theatre - -› Cinema -- Cinema ==› Theatre -- Filming a performance -- Filming fragments of theatre -- Cinema - -› Theatre -- Television ==› Radio -- Television - -› Radio -- Radio ==› Television -- Radio - -› Television -- Television ==› Cinema -- Television - -› Cinema -- Cinema ==› Television -- Cinema - -› Television.

Radio - -› Video - -› Radio -- NOTES -- BIBLIOGRAPHY -- 6 TOWARD SPECIFYING THEATRE TRANSLATION -- PROBLEMS PECULIAR TO TRANSLATION FOR THE STAGE -- The intersection of situations of enunciation -- The series of concretizations -- The conditions of theatre translation reception -- The hermeneutic competence of the future audience -- The future audience's competence in the rhythmic, psychological or aural spheres -- Translation and its mise en scène -- Taking over the situation of enunciation -- Translation as mise en scène -- FROM TEXT TO BODY, FROM BODY TO TEXT -- Translation as mise en jeu -- Applying Freud to translation theory -- Examples of language-body: a few theories -- CONCLUSION -- NOTES -- BIBLIOGRAPHY -- 7 DANCING WITH FAUST: REFLECTIONS ON AN INTERCULTURAL MISE EN SCÈNE BY EUGENIO BARBA -- PREPARATION OF THE MATERIALS -- THE DANCERS' INCORPORATION -- SEMIOTIC RE-ELABORATION: THE GESTURAL EXAMPLE -- Montage -- Juxtaposition of emotional tonalities -- Focalization -- Confrontation of gestural moments -- Cultural dichotomy of gestural moments -- Which semiotics? -- IDEOLOGICAL RE-ELABORATION -- Pathos -- Melodrama -- Burlesque -- NARRATOLOGICAL RE-ELABORATION -- From micro- to macrostructures -- A classical narratology -- From epic to dramatic -- Labeling meaning -- Western subtitles -- CULTURAL RE-ELABORATION -- The unifying subject -- A metacultural vision -- NOTES -- BIBLIOGRAPHY -- 8 INTERCULTURALISM IN CONTEMPORARY MISE EN SCÈNE: THE IMAGE OF INDIA IN THE MAHABHARATA, THE INDIADE, TWELFTH NIGHT AND FAUST ... -- (1) CULTURAL INSCRIPTION -- IDENTIFICATION OF THE CULTURAL REFERENT -- (2) ARTISTIC MODELING SYSTEMS -- (3) THE ADAPTER'S PERSPECTIVE -- (4) THE WORK OF ADAPTATION -- (5) PREPARATORY WORK BY THE ACTORS, (6) CHOICE OF FORM -- (7) THEATRICAL REPRESENTATION OF CULTURE -- (8) RECEPTION-ADAPTERS -- (9) CONSEQUENCES FOR READABILITY.

(10) RECEPTION WITHIN THE TARGET CULTURE -- (11) GIVEN AND ANTICIPATED CONSEQUENCES -- NOTES -- BIBLIOGRAPHY -- INDEX.