Formal Semiotics: A Method for Scenographic Analysis
Since 2001, the School of Visual Arts (Escuela Superior de Artes Visuales, ESAV) in Tijuana, Mexico, has been developing a protocol to apply the scientific method to the study of art and, in particular, enable the analysis of meaning in the visual arts. Several theoretical models have derived from t...
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| Autores principales: | , , |
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2024
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/13678 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=13678_oai |
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I28-R145-13678_oai2025-11-17 Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel 2024-05-27 Since 2001, the School of Visual Arts (Escuela Superior de Artes Visuales, ESAV) in Tijuana, Mexico, has been developing a protocol to apply the scientific method to the study of art and, in particular, enable the analysis of meaning in the visual arts. Several theoretical models have derived from this research and serve as the basis for various professional training programs at the school. In this work, we reveal how our institution has adapted the formal-semiotic analysis developed in the visual arts to study scenographic composition, a foundational method for our MFA in Scenic Design and Production. The article borrows from individual materials by the three authors and synthesizes their observations around the same question: what factors determine the visual meaning perceived on stage by the spectator and how? We subscribe to basic tenets in the physiology and neurology of visual perception, particularly the split focus of human sight into systems of “where” (achromatic) and “what” (chromatic) as well as the structure of the artificial perceptual field (derived from the mental map of the retina based on the ocular muscles). This paper provides a method to help predict and guide emotional responses from the audience and, ultimately, their interpretation of the mise en scène. La Escuela Superior de Artes Visuales (ESAV) en Tijuana, México, viene desarrollando desde el 2001 un protocolo de aplicación del método científico al estudio de las artes y, en particular, del significado en las artes visuales. Esto ha derivado en varios modelos teóricos que sirven de base para sus diversos programas de formación profesional. En este trabajo exponemos la adaptación de parte del análisis compositivo - semiológico que se ha venido desarrollando en el ámbito de las artes plásticas al trabajo de análisis escénico, como base fundamental para nuestra Maestría en Producción Escénica. Abrevando del trabajo desarrollado por los tres autores, intentamos una síntesis que aborde la cuestión de ¿qué factores determinan el significado visual percibido por el espectador en una escena y cómo? Tomamos como base el estado del conocimiento sobre fisiología y neurología de la percepción visual, particularmente la división de nuestra vista en los sistemas ‘dónde’ –en blanco y negro– y ‘qué’ –a color–. Así como en la estructura del campo perceptual artificial, derivada del mapa mental de la retina en función de los músculos oculares. Este análisis arroja un método para predecir y controlar la respuesta emotiva del espectador y, por tanto, su interpretación de la escena. application/pdf https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/13678 10.34096/tdf.n39.13678 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/13678/13202 telondefondo. Revista de Teoría y Crítica Teatral; Núm. 39 (2024) 1669-6301 Visual Composition Stage Perception Scenic Design Composición espacial ecena espacio escenico Trazo escénico Percepción Formal Semiotics: A Method for Scenographic Analysis Método semiótico-formal: su aplicación al análisis del espacio escénico info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=13678_oai |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-145 |
| collection |
Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
| orig_language_str_mv |
spa |
| topic |
Visual Composition Stage Perception Scenic Design Composición espacial ecena espacio escenico Trazo escénico Percepción |
| spellingShingle |
Visual Composition Stage Perception Scenic Design Composición espacial ecena espacio escenico Trazo escénico Percepción Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel Formal Semiotics: A Method for Scenographic Analysis |
| topic_facet |
Visual Composition Stage Perception Scenic Design Composición espacial ecena espacio escenico Trazo escénico Percepción |
| description |
Since 2001, the School of Visual Arts (Escuela Superior de Artes Visuales, ESAV) in Tijuana, Mexico, has been developing a protocol to apply the scientific method to the study of art and, in particular, enable the analysis of meaning in the visual arts. Several theoretical models have derived from this research and serve as the basis for various professional training programs at the school. In this work, we reveal how our institution has adapted the formal-semiotic analysis developed in the visual arts to study scenographic composition, a foundational method for our MFA in Scenic Design and Production. The article borrows from individual materials by the three authors and synthesizes their observations around the same question: what factors determine the visual meaning perceived on stage by the spectator and how? We subscribe to basic tenets in the physiology and neurology of visual perception, particularly the split focus of human sight into systems of “where” (achromatic) and “what” (chromatic) as well as the structure of the artificial perceptual field (derived from the mental map of the retina based on the ocular muscles). This paper provides a method to help predict and guide emotional responses from the audience and, ultimately, their interpretation of the mise en scène. |
| format |
Artículo publishedVersion |
| author |
Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel |
| author_facet |
Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel Soto Flores, Martha Judith Gardea Chavez, David Raymundo Jiménez Cuanalo, Jaime Miguel |
| author_sort |
Soto Flores, Martha Judith |
| title |
Formal Semiotics: A Method for Scenographic Analysis |
| title_short |
Formal Semiotics: A Method for Scenographic Analysis |
| title_full |
Formal Semiotics: A Method for Scenographic Analysis |
| title_fullStr |
Formal Semiotics: A Method for Scenographic Analysis |
| title_full_unstemmed |
Formal Semiotics: A Method for Scenographic Analysis |
| title_sort |
formal semiotics: a method for scenographic analysis |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2024 |
| url |
https://revistascientificas.filo.uba.ar/index.php/telondefondo/article/view/13678 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=telonde&d=13678_oai |
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