| Abstract: |
The semiotic relationship between theatrical performance and technology is as old as Western civilization itself. Since the ancient Greeks, theatre has not only experimented actively with the most innovative inventions of each age, but has also served as a base for experimentation with all types of mechanisms: from spotlights and other devices for illumination and projection to the most advanced audiovisual inventions -analogue or digital, simulated or virtual. By nature, a highly codified discourse, the language of the stage arts, has managed to incorporate the most complete typology of signs that's possible: indices and symbols, hypericons and, even, pure icons are all involved in this new process of semiosis that configures -live and directly- the integration of digital technology in the stage show. |
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(Universidade da Coruña)
