Ilova Elena Viktorovna, Candidate of philological sciences, associate professor, sub-department of English philology, Astrakhan State University (20a Tatischeva street, Astrakhan, Russia), firstname.lastname@example.org
Background. Researches of theatricality of our life cause the necessity of typologisation of theatrical signs for further description of their projection on different types of discourse. To perform this, it is important to understand and realize the principles which lie at the basis of signs classification. The aim of the work is to define and analyse the principles of typologisation of theatrical signs, which in further work will help to develop a detailed signs classification.
Materials and methods. The research objectives were implemented through studies of a great quantity of theoretical material in linguosemiotics (C. Peirce, V. Gak, A. O. Olyanitch), on the category of informational abundancy (E. I. Sheigal, I. O. Kosova); and the category of accuracy/approximity (S. L. Sakhno, T. M. Pristinskaya).
Results. The article states that the linguosemiotic principle becomes the essential one in singling out a theatrical sign as a complex semiotic unit, which embodies an artistic image taken from the reality, which possesses certain properties and charac-teristics of actions, states and processes aiming at producing an impact on an audience provoking its emotions and feelings. Typologisation of theatrical signs takes place at semiotic, semantic and pragmatic levels with different degrees of presence and extent of gradation of theatricality signs. The semiotic level presup-poses the principle of verbality/non-verbality and a theatrical sign presents a non-verbal visual unit. At the semantic level, typologisation is connected with the grada-tion of “theatrical meaning” present in theatrical signs. This principle deals with the categories of informational abundance and accuracy/approximation, expressed in language theatrical signs. The pragmatic level realizes the principle of effectiveness of the verbal impact by means of theatrical signs, which participate in the analysis of the surroundings performed by the human cognitive system, the process which results in theatrical communication.
Conclusions. The levels of typologisation of theatrical signs as well as the prin-ciples actualized at these levels will serve as a base for detailed description of signs and development of their classification.
linguosemiotics, theatrical sign, linguosemiotic world image, typologisation, accuracy/approximation, informational abundance.
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