La estimulación sensorial como medio para la creación de signos en el espacio escénico durante el montaje inexpresable amor

Abstract

In 1977, the French semiologist Roland Barthes, after a crisis in his career, wrote "Fragments of a Love Discourse," a work that he presents as a necessity based on the following statement: ...The love discourse is of an extreme solitude. It is a discourse (...) to which no one holds; it is completely abandoned by surrounding languages: either ignored or despised or mocked by them (...) It has no choice but to be the place of an affirmation...= (Barthes: 1977:11). This is his starting point to define the concept of love, in addition to his attempt to define related words, making intertextual references. The dramatic text is a type of text that is written to be performed. It provides the actor with many tools both implicit and explicit (stage directions, descriptions, etc.) when it comes to creation and staging. However, the actor in his work and his condition as a creator is not limited to the staging of dramatic texts; the long text continues New trends also demand that they be prepared to face different mounting processes: of other types of texts, of other types of languages, in ways different from the classical ones; while always having the scenic languages and their personal essence as tools that support and enhance the acting work.