SPECTATORSHIP: FROM EVERYDAY LIFE DRAMA TO THEATRICALITY (1)
SPECTATORSHIP: FROM EVERYDAY LIFE DRAMA TO THEATRICALITY (1)

Summary/Abstract: The article tries to describe and analyze the semiotic, pragmatic and neuro-psychological processes who relate the spectator’s condition to the specific theatre and/or film production. Starting from ethologic (Lorenz) and sociological (Goffman) foundations, the author is trying to revisit, by interdisciplinary methods, the spectator’s status, the “meaning production” and the identification procedures, in order to offer a new and integrated perspective on his/hers participation. The paper will compare and interpret the definitions of framing analysis offered by Goffman for the everyday life practices, with the specific definitions of the participative processes in theatre and film, from semiotics and pragmatics fields of research. The aim of this (first in a series to come) critical approach is to question the aesthetically oriented strategies of production, and to demonstrate that the new generations of spectators (motivated by digital competences and technological abilities) shifted to more experiential-oriented audience values and practices, using the aesthetical structures mainly as neutral vehicles for the fictional immersion.

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