Title: Otakar Zich's invisible actors and creative minds
Source document: Theatralia. 2014, vol. 17, iss. 2, pp. 71-80
Extent
71-80
-
ISSN1803-845X (print)2336-4548 (online)
Stable URL (handle): https://hdl.handle.net/11222.digilib/130879
Type: Article
Language
License: Not specified license
Notice: These citations are automatically created and might not follow citation rules properly.
Abstract(s)
In his essay "Sémiotika sémiotika Otakara Zicha" (Otakar Zich's Semiotics, 1981), Ivo Osolsobě seeks to illuminate one of Zich's most troubling and mysterious terms: 'významová představa' (semantic image). For Osolsobě, it "is a complex, liminal, and interdisciplinary phenomenon about which a substantial body of studies has been written, though a majority of which only hardly touched the problem: a systematic treatise on the phenomenon is still missing." Nonetheless, Osolsobě succumbs to the theorist's temptation and ventures into the investigation of the term and, following Mukařovský's 'semiotization' of aesthetics, finds a relevant connection with C. S. Peirce's semiotic notion of 'interpretant' which, in Osolsobě's view, resonates with Zich's notion of the semantic visual image. Surprisingly (or mysteriously) though, Osolsobě does not find in Peirce's vast work any corresponding mirror term for Zich's signifying technical image. In my paper, I try to re-read Zich via Peirce and vice versa and suggest a potential solution for the notion which strangely fell overboard while being transported across the Atlantic.
References
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[2] ETLÍK, Jaroslav. 2011. Theatre as Experience. On the Relationship Between Noetic and Ontological Principles in Theatre Art. In Eva Šormová a Štěpán Otčenášek. Czech Theatre Review 1989–2009. Praha: Institut umění – Divadelní ústav, 2011: 181–223.
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[4] OIDA, Yoshi. 1997. The Invisible Actor. New York: Routledge, 1997.
[5] OSOLSOBĚ, Ivo. 2002. Sémiotika semiotika Otakara Zicha [Semiotics of Semiotician Otakar Zich]. In id. Ostenze, hra, jazyk [Ostension, Performance, Language].Brno: Host, 2002: 213–38.
[6] PEIRCE, Charles S. 1974 [1931‒1935]. The Division of Philosophy [online]. In id. The Collected Papers of Charles Sanders Peirce. 3rd ed. Electronic edition reproducing Vols. I‒VI. Ed. by Charles Hartshorne and Paul Weiss. Cambridge, MA: Harvard University Press, 1974: 129‒35 [accessed 20 May 2013]. Available at http://books.google.cz/books?id=HoRfcRUtpnEC.
[7] SOFIA, Gabriel. 2010. Divadlo jako živý systém. Neurovědy, biologie a komplexita při studiu vztahu mezi hercem a divákem [Theatre as a Living Organism. Neurosciences, Biology and Complex Systems in the Study of Actor‒Spectator Relationship]. Divadelní revue 21 (2010): 1: 53–67.
[8] SUS, Oleg. 1958. Sémantický problém 'významové představy' u O. Zicha a J. Volkelta: K počátkům sémantiky umění v moderní české estetice [Semantic Problems of O. Zich's and J. Volkelt's "Semantic Image: On the Beginnings of Semantics of Art in Modern Czech Aesthetics"]. Sborník prací Filozofické fakulty brněnské univerzity. F, Řada uměnovědná 7 (1958): 2: 99–116.
[9] VOLEK, Emil. 2012. Theatrology an Zich, and Beyond: Notes Towards a Metacritical Repositioning of Theory, Semiotics, Theatre, Aesthetics. Theatralia 15 (2012): 2: 168–85.
[10] VOSTRÝ, Jaroslav. 2009. Scénické působení a zrcadlové neurony [Stage Performance and Mirror Neurons]. Disk (2009): 28: 7–28.
[11] ZICH, Otakar. 1981 [1911]. Estetické vnímání hudby [Aesthetic Reception of Music]. Praha: Supraphon, 1981.
[12] ZICH, Otakar. 1986 [1931]. Estetika dramatického umění: Teoretická dramaturgie [Aesthetics of Dramatic Art: Theoretical Dramaturgy]. Praha: Panorama, 1986.