Process: 3. Spatial Signs [P. 93

The spatial signs are thus related to the overall triangle A / X / S / as well as to the relationship between A and S and also to that between A and X (and in this sense also to the relation between X and S).

We first have to clarify the two general questions of (1) how space functions as a system which generates meaning and (2) what the basic categories are to which the meanings generated by space can be related.

P. 94 ... a space or spatial object [natural park / human being created object - building or square] is capable of signifying those practical functions [human activities] that can be fulfilled in it, on it, or with it.

Theatrical Space

P.97 In principle, we can distinguish between two kinds of venues: (1) those spaces which were set up expressly in order to serve as theatre buildings and (2) those spaces which were created to serve a different practical function, but are used temporarily or repeatedly as a theatre.

P. 98 If the theatre is no longer to be understood as a separate domain, but rather as a part of the social life of a society, A/X/S also has to take place in spaces which are related to this social life. Consequently, streets and squares, underground passageways and public parks, factories and the interior of market hall, shopping malls and sports stadiums can lead themselves as suitable venues - those places, in other words, in which vast sections of the social life our society take place.

The space in which A/X/S takes place can, in this sense, generally be viewed and interpreted as a sign for the social function of A/X/S. The respectively specific relationship between A and S is also linked to the respectively different social function of the theatre.

P.100 The box set stage of the nineteenth century, by contrast, finalized the complete separation of he two spheres....Consequently, the individual viewer in the audience cannot see any of the other viewers, nor can the actor see the audience....As a result, however, the theatre loses its ability to function as a form of the self-portrayal and self-reflection of society. For actors who no longer perform for an audience can also no longer represent those who act in this society, just as conversely the audience attending the performance, now being isolated individuals, has ceased to represent the public sphere....the stage space can no longer function as the site of social life, but instead becomes the space into which the isolated observers project their inner world.

Stage Space

P.101 We shall define stage space as that segment of space in which A acts in order to portray X. This means that the stage space need not be a place that is especially sectioned off, but rather is situated wherever A acts in order to portray X. This can be in the midst of the audience...... [Stage is everywhere as long as it facilitate the acting]

Our definition of stage space implies both a practical and a symbolic function: it signifies (1) the space in which A acts, and (2) the space in which X is found...The actions and movements carried out by A in this environment signify actions and movements by X.

P.101-102 Moreover, other ways in which the stage space can signify things through decoration, props, and lighting should be regarded only as potential, but not necessary, elements of the theatrical code as a system.

Decoration

P.102 Whereas stage space signifies the space in general in which X finds himself, the decoration can function as a sign for the special space in which X happens to be at that moment.

P.103 A does not do these things in order to accomplish a practical purpose, but solely to indicate that X is performing them, the signs of the decoration change their signifying quality in relation to the characters as well - albeit (儘管) not in relation to the actors performing them. They are no longer signs of practical functions, but rather signs of signs signifying practical functions. As signs of signs they point to possible, intentional movements of character X.

Fischer-Lichte, Erika (1992). The Semiotics of the Theatre. Bloomington and Indianapolis: Indiana University Press.

Process