The Poetics in contemporary drama criticism

Abstract

Dramatic texts offer an opportunity for interactive discourse, iconomatic images and movement in a shifting space advocating a perfectly harmonious semiotic reading with the context, what is imagined and real in the interpretation of the text/ body through the animated subject read and imagined far from imposed types. Each dramatic text has its own language and rhythm at its disposal characterizing it and which structures it in an interaction. The play-wright bases his argument on what is implied, symbolic, and metaphorical to give harmony in a system of connotations which flow in the general sense of the structure, this gives the interpretation an assumed implicit sense.

Thus discourse is not conveyed by one sense, except at the moment it is accomplished by an arranging and breaking down within the frame of its presentation. It is an infinite web of what is not said and undeclared .The sentence which comes to the surface and is not fulfilled, remains rooted to a restraint in the arms of silence and the actor’s cowardliness.

we can finally put our finger on the fact posed by the hermeneutic criticism discourse of the text or the theatre show; a variable and relative fact that changes depending on (text/show) as well as on (interpreter/critic). It is obvious that the path through which a written text is transformed into a performed play on stage is subject to multiple shifts in the hermeneutic discourse, particularly the theatre show in its both aspects external (explicit) and internal (implicit). Thus, the function of critical discourse has no fixed limits; it should determine all small details and significances of the play, including those absent or hidden ones. Therefore, the process of producing the meaning could change from one interpreter to another, or even take several forms in the mind of the interpreter itself.