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Home :: Archive :: 2002 :: February ::
Re: Dialogic Stage Directions
The Shakespeare Conference: SHK 13.0361  Thursday, 7 February 2002

[1]     From:   Anthony Burton <
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        Date:   Wednesday, 6 Feb 2002 13:09:30 -0500
        Subj:   Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[2]     From:   Harry Hill <
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        Date:   Wednesday, 6 Feb 2002 13:12:17 EST
        Subj:   Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[3]     From:   Steve Roth <
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        Date:   Wednesday, 6 Feb 2002 11:33:01 -0800
        Subj:   Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[4]     From:   William Proctor Williams <
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        Date:   Wednesday, 06 Feb 2002 16:57:13 -0500
        Subj:   Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[5]     From:   Mark Williams <
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        Date:   Thursday, 7 Feb 2002 12:52:26 +1100
        Subj:   RE: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[6]     From:   J Kenneth Campbell <
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        Date:   Wednesday, 06 Feb 2002 13:19:24 -0800
        Subj:   Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[7]     From:   John Drakakis <
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        Date:   Thursday, 7 Feb 2002 13:26:55 -0000
        Subj:   RE: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

[8]     From:   Martin Steward <
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        Date:   Thursday, 7 Feb 2002 14:47:16 -0000
        Subj:   Dialogic Stage Directions


[1]-----------------------------------------------------------------
From:           Anthony Burton <
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Date:           Wednesday, 6 Feb 2002 13:09:30 -0500
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

In the interest of advancing The Higher Obfuscation as a way of life
(the Tao of THO), let me propose "dialogic dramaturgical semion (or,
"signifier")", or "dialogic non-dramatical semion/signifier."

Of course, we could go back to close reading and talk about what the
author must have meant, or even ask ourselves how to arrange it for an
actor to say all the words without looking bloody foolish.

Tony B

[2]-------------------------------------------------------------
From:           Harry Hill <
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Date:           Wednesday, 6 Feb 2002 13:12:17 EST
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

Textual Guides to Blocking: TGB's..

Harry Hill

[3]-------------------------------------------------------------
From:           Steve Roth <
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Date:           Wednesday, 6 Feb 2002 11:33:01 -0800
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

Stephen Dobbin <
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 > wrote,

>replacing stage-direction with a more
>rigorous term. I am sure listmembers will be able to come up with
>suggestions.

Actorial intention?

This also almost qualifies for the New York Magazine contest: "take a
[foreign-language] phrase, replace (or in the above case remove) one
letter, and give a definition." i.e., one of mine:

QUOD EST REMONSTRATUM

That which gets you in trouble with your spouse/parent/teenage child.

Steve
http://princehamlet.com

[4]-------------------------------------------------------------
From:           William Proctor Williams <
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Date:           Wednesday, 06 Feb 2002 16:57:13 -0500
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

I am pleased that Stephen Dobbin likes the term and is even willing to
continue with the perfecting of it. I think his "hallmarks" are about
right, and # 1 is certainly why many of us are not working in the jeans
department at Sears or similar.  I will see if I can find something to
meet his rigorous requirements if Hardy is willing to come up with the
prize.

William Proctor Williams

[5]-------------------------------------------------------------
From:           Mark Williams <
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Date:           Thursday, 7 Feb 2002 12:52:26 +1100
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        RE: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

My own favourite which has been borrowed from the classicists is
"didascalia" - often treated as "performance records" but by a process
of semantic shift is often now used to refer to all overt and implicit
"stage directions" or performative indicators, particularly among the
French theatre semiologists of the 1980s.  You will find it thus in Anne
Ubersfeld's Lire le Theatre Vol 1 (Editions Sociales: Paris) 1979 (sorry
about the lack of accents) and further developed in work by Patrice
Pavis.

Didascalia have not yet, to my knowledge, come into widespread use in
English, but the term fulfils Stephen's criteria - surely.  It's an even
vaguer portmanteau term which covers monologues, dialogues, crowd cries
and music cues, scene divisions (if authorial or playhouse origin) and
even the cast list at the front, playbills and "parts".  This then
allows us to embark on a study of kineaesthetics, of course.  Forget the
coinage of one word, whole degree courses and schools open up here.

For a study of Shakespeare's stage directions implicit and explicit may
I recommend Anne Pasternak Slater's Oxford 1974 D.Phil. "Shakespeare's
Stage Directions" - better and more systematic in my view than the book
which came from it "Shakespeare the Director" (Harvester Press:
Brighton)(in US Barnes & Noble) 1982.

Even in the absence of another claimant, I feel that the bottle will
have to remain in the northern hemisphere to support the sterling work
of the list coordinator.

Mark Williams.

[6]-------------------------------------------------------------
From:           J Kenneth Campbell <
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Date:           Wednesday, 06 Feb 2002 13:19:24 -0800
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        Re: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

I suggest "Verse spurs"

Ken

[7]-------------------------------------------------------------
From:           John Drakakis <
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Date:           Thursday, 7 Feb 2002 13:26:55 -0000
Subject: 13.0346 Dialogic Stage Directions/Authorial Intention
Comment:        RE: SHK 13.0346 Dialogic Stage Directions/Authorial Intention

Why not think of them as 'implied stage directions' since that's what
they are.  'Dialogic' confuses the matter since it suggests that they
engage actively in some way (not easy to use this term in a descriptive
way after Bakhtin)

Cheers,
John Drakakis

[8]-------------------------------------------------------------
From:           Martin Steward <
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Date:           Thursday, 7 Feb 2002 14:47:16 -0000
Subject:        Dialogic Stage Directions

[Act. I Sc. i]

ENTER DOBBIN, HARDY, STEWARD, AND OTHER LADIES AND GENTLEMEN.

DOBBIN.
Th' adjectival "dialogic" suits us well
In its abstruse and trumping Greekery;
But "Stage Direction" is too commonplace:
It vaulteth not beyond the 'nighted ken
Of the base multitude. Wilt thou, great Hardy,
Consent to offer up a single malt
Unto the coiner of some more braver term?

HARDY NODS, SILENTLY

STEWARD.
Then stand off all contenders! Hear no more,
Judicious Hardy, beyond my prompt bestowal -
There is no need: the term which I propose
Is "Dialogic Catechodramatropism".
The single malt is, without question, mine!

[STEWARD GRABS THE BOTTLE]

OMNIA.
Oh! Prodigious fabrication!

EXIT STEWARD, RUNNING, PURSUED BY HARDY

m
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