Semiotics and Theatricality in the Theatre of KAKI and GHELDERODE
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The present work is an exploration of narratological and semiotic structures in the particular universe of theater. While theatrical narratology is apprehended here through the process of meta-diegesis, or even metanarration, semiotics will be considered as a dramaturgical technique offering the director opportunities for language manipulation and also for scenic expression. Our ambition is to evaluate and confront the contribution of these techniques to the originality and richness of theater and theatricality. For this study of narratology and semiotics of discourse in the world of theater, ...
The present work is an exploration of narratological and semiotic structures in the particular universe of theater. While theatrical narratology is apprehended here through the process of meta-diegesis, or even metanarration, semiotics will be considered as a dramaturgical technique offering the director opportunities for language manipulation and also for scenic expression. Our ambition is to evaluate and confront the contribution of these techniques to the originality and richness of theater and theatricality. For this study of narratology and semiotics of discourse in the world of theater, the analysis focuses on two authors who are completely distinct in time and space, but whose practices suggest possible similarities. These are Michel de Ghelderode and Abderrahmane Ould Kaki, whose plays (Barabbas for Ghelderode and The Water Bearer and the Marabouts for Kaki) constitute the corpus of this work. El guerra oua salihine (The water carrier and the marabouts) is a philosophicaltale inspired by the Maghrebian heritage and that the writer Kaki has transferred from orality to writing.
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