A Semiotic approach to drama and as a example of stage working

ABSTRACT Semiotic studies in the art of dramma do not include only the crities and the analysis of a test or a play which has already been performed. It is possible to benefit from the insights of semiotic approach during the staging period. A drammatic performance resembles a motioned picture in which preceding signs complete eachother in a harmony Semiotics in dramma attempts to describe how to choose the signs in a play and how should be the interaction among signs on stage. The structure of a play is consisted of the multidimensional and dialectic interaction among the signs of it. There are three main signs which are called as ikona, index, and symbol. All the staff existed and used on the stage (the players, the text, lighting, decorating, costume, music, etc.,...) is considered as a sign. The lunction of these signs is to create the meaning through the interaction among them. The audience which is one of the most import ant factors contribute to dramma is also studied by semiotics. It is necessary to revearch the individnal and social features of the andience to perform successfully an stage. The system of the signs which is constructed ignoring the cultural, behavioral, and ideological traditions can not contribute to the meaning. Semiotics in dramma should not be considered as a system which produces formulae for staging and categorizes creativity. It should be considered as an artistic approach which studies in a scientific dicipline. While choosing and coordinating the parts of a play. Another point which should be considered is that dramma is a collective art. Semiotic approach to staging a play may fail when the designers, the composers, and the players do not work in harmony and obtain the true interaction among them. Thus, what makes applied semiotics in dramma differ from the other diciplines of semiotics is its collective work nature.