334 KB36 KB338 KB38 KB201520252016Krpič, TomažKrpič, Tomažštevilka:1letnik:4str. 15-41ISSN:1855-4539ISSN:1855-850XCOBISSID:239685632COBISSID:249943040URN:URN:NBN:SI:DOC-B1VROWUFenslAmfiteater (Ljubljana)gledalciscenografijascenske umetnostisodobno gledališčeuprizoritveGledalčeva spoznavna nadomestitev odsotnega performerjevega fenomenalnega telesa| The spectator's cognitive substitution of the absent performer's phenomenal body|This paper provides an interpretation of the play Feng Shui in the Theatre without an Actor (Feng šus v gledališču brez igralca). The play's distinct characteristic is the absence of the performer's phenomenal body. The author thematises, using Erika Fischer-Lichte's typology of the performing bodies, a unique relationship between the present semiotic and the absent phenomenal body of the performer on the one hand and the present phenomenal and semiotic body of the spectator on the other hand. In addition, he also uses elements of Eviatar Zerubavel's cognitive sociology (meaning as a social relation between signifier and signified) and Tim Dant's theory of material culture (the significance of an artwork as the mediating object in the communication process). The author describes and explains how during the play, the spectator cognitively makes a substitution of the absent performer's phenomenal body using her own phenomenal body, which gives new connotations to Edward Gordon Craig's visionary statement about the theatre without the use of a written play or actorsČlanek obravnava predstavo Feng šus v gledališču brez igralca. Značilnost predstave je odsotnost fenomenalnega telesa performerjev. Avtor analizira - pri tem uporablja tipologijo uprizoritvenih teles Erike Fischer-Lichte - edinstveno razmerje med prisotnim semiotičnim in odsotnim fenomenalnim telesom performerja na eni strani ter prisotnim fenomenalnim in semiotičnim telesom gledalca na drugi. Avtor pri analizi uporablja tudi elemente kognitivne sociološke teorije Eviatarja Zerubavela (smisel kot socialna relacija med označenim in označevalcem) in elemente teorije materialne kulture Tima Danta (vloga umetniškega dela kot predmeta, ki posreduje v procesu sporazumevanja). Avtor opiše in pojasni, kako gledalec z uporabo svojega lastnega fenomenalnega telesa kognitivno nadomesti odsotno performerjevo fenomenalno telo, kar daje vizionarski izjavi Edwarda Gordona Craiga o gledališču brez zapisane besede in gledališču brez igralca nov pomenTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaSlovenski gledališki inštitut (SLOGI)