| Introduction: Theater Or Semiotics | p. 1 |
| The Textual Analysis of Performance | p. 2 |
| From Structuralism to the Pragmatics of the Text | p. 3 |
| Enunciation, Intertextuality, and Reception | p. 4 |
| Textual Analysis as a Multidisciplinary Approach | p. 6 |
| Epistemological Limits | p. 9 |
| Semiotics and Theater | p. 10 |
| Dramatic Text and Mise-En-Scene | p. 15 |
| Reasons for a Misunderstanding | p. 15 |
| A Critique of the Conception of the Dramatic Text as a "Constant" or "Deep Structure" of Performance | p. 17 |
| Language and Metalanguage, Text and Metatext | p. 20 |
| Virtual Mise-en-Scene and Real Mise-en-Scene | p. 21 |
| The Irreversibility of Theatrical Transcoding | p. 26 |
| Toward a Definition of the Dramatic Genre | p. 30 |
| Dramatic Discourse | p. 34 |
| The Dramatic Text as "Instructions for Use" | p. 37 |
| The Performance Text | p. 47 |
| Performance as Text | p. 47 |
| Theatrical Performance: A Definition | p. 48 |
| Completeness and Coherence of the Performance Text | p. 56 |
| The Performance Text: Between Presence and Absence | p. 62 |
| The Double Heterogeneity of the Performance Text | p. 77 |
| Performance Texts Shorter or Longer than One Performance | p. 78 |
| Co-textual and Contextual Aspects | p. 80 |
| The Textual Structure of Performance | p. 83 |
| Multiple Systems and Single Systems | p. 83 |
| Degrees of Dynamism in the Textual Structure of Performance | p. 85 |
| Partial Structures and Macrostructures | p. 88 |
| Multiple Interpretations, Multiple Structures | p. 90 |
| Analysis/Reading/Criticism | p. 93 |
| Performance Codes and Theatrical Conventions | p. 97 |
| The Concept of "Code" in Relation to Theatrical Performance | p. 97 |
| Decoding, Comprehension, Interpretation | p. 98 |
| Classification according to Codes and Classification according to Expressive Material | p. 100 |
| Theatrical and Nontheatrical Meanings | p. 103 |
| Performance Codes (in the Strict Sense) | p. 104 |
| Theatrical Conventions | p. 106 |
| The Performance Text as an Example of Invention | p. 116 |
| Performance Text, Cultural Context, and Inter Textual Practices | p. 121 |
| The Performance Text in the General Text: The Cultural Roots of Codes and Conventions | p. 121 |
| Aesthetic and Nonaesthetic Codes: From Culture to Art and Back | p. 124 |
| Francastel: The Aesthetic Text as Montage of Cultural Objects | p. 126 |
| Types of Theatrical Intertextuality | p. 131 |
| Toward a Pragmatics of Theatrical Communication | p. 137 |
| The Performance Context | p. 137 |
| Communication in the Theater | p. 139 |
| The Kind and Degree of Communication in Performance | p. 142 |
| Theatrical Manipulation | p. 144 |
| Action/Fiction: The Performance Text as a Macro-Speech Act | p. 150 |
| Theater beyond Simulation and Negation | p. 154 |
| The Spectator's Task | p. 158 |
| The Current State of Research on Theatrical Reception | p. 158 |
| Research on Reception outside of Theater | p. 161 |
| The Model Spectator: "Closed" Spectators and "Open" Spectators | p. 165 |
| Theatrical Competence | p. 171 |
| Theatrical Genre as a Textual Type | p. 171 |
| Pragmatic Aspects of Theatrical Genres | p. 180 |
| Avant-Garde Theater as Metalinguistic Manipulation of the Performance Context | p. 182 |
| Grammaticality, Acceptability, and Appropriateness of the Performance Text | p. 184 |
| Notes | p. 189 |
| Bibliography | p. 237 |
| Table of Contents provided by Blackwell. All Rights Reserved. |
