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The present paper introduces definitions of the key concepts that frame the research on the theatricality of public events held at the Department of Theatre Studies, Faculty of Arts, Masaryk University, since 2010. The overview presents concepts such as theatricality, performance, and symbolic aspects of acting as well as the concept of "theatre as a cultural model" (i.e. theatre in the broad sense of meaning). Present research allows for the symbolic acts to be perceived as spontaneous; it also concentrates on the way in which acting in everyday life, and during public events is being made prominent by theatrical means (e.g. set, costumes, expressivity). More generally, exploring the limits of theatricality enables theatre scholars to open up their field for impulses from anthropology, sociology, and culturology, hence approach their subject of inquiry in a more interdisciplinary way.
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This article discusses Kenneth Burke’s theory of the symbol, which considers the use of the sign as a specifically human activity associated with the formation of meaning. In Burke’s view, the symbol is a meaning-making device that can influence human action and thoughts, and therefore represents the key to understanding the nature of human communication. In this article, Burke’s ideas are compared to other sign-symbol theories — namely, the semiotics of Umberto Eco and Juri Lotman, Charles Sanders Peirce’s semeiotics, as well as Ernst Cassirer’s philosophy of symbolic forms —, with analysis on the way each of these theorists defines the nature of the symbol and its conventional acceptation, principle of identification, and the characteristics of the symbolisation process itself.
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