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Rozik has developed a semiotic performance analysis that takes into account the variety of ways in which the same play can be presented, treating each performance as a unique event with its own semiotic substrata. Rozik applies his method to several different performances. They are diverse as to place presented and in the form they take, from wordless theatre to installation to traditional scripted plays. He considers the play itself, the actors, director and setting making these many units into a concrete whole. --Reference & Research Book News Eli Rozik has written a comprehensive and brilliant study of performance analysis. His book joins a long tradition of scholarship on the performance codes of theatre, stretching from the Prague Linguistic School of the 1930s to contemporary writings in theatre semiotics, phenomenology, hermeneutics, and audience response theory... Drawing upon an impressive range of knowledge, from philosophy and neuroscience to rhetoric and literary aesthetics, Rozik delivers a rich and complex investigation of theatre performance, written in a clear, forceful style. --Thomas Postlewait, editor, Studies in Theatre History, School of Drama, University of Washington Eli Rozik has been at the forefront of the development of the analysis of performance for over two decades and is one of the world leaders in developing a paradigm shift within theatre studies away from the studies of play-texts to the text that is performance. This new book, while situating semiotics within a range of possible theoretical tools, charts the development of the theories of performance analysis that have developed from the early semiotic applications. --Brian Singleton, former editor of Theatre Research International, and president of the International Federation of Theatre Research; Trinity College, Dublin Culminating his decades-long work in theatre studies, Rozik offers a far-ranging work that unites and intertwines theatre semiotics, phenomenology, and performance theory. He calls the play-script a 'deficient text' that 'presupposes its final performance.' This 'performance-text' focus does still require semiotic analysis, but semiotics is a 'substratum' of performance that requires 'other structural strata, which require additional poetic, aesthetic, and rhetoric disciplines of research' for a full understanding. The book opens with a dense, precise, state-of-the-art introduction, and the author divides the chapters that follow into three parts: 'Semiotic Substratum, ' 'Additional Strata and Disciplines, ' and 'Examples of Performance Analysis.' The most engaging is the last, in which Rozik looks at Robert Wilson's H.G., Habimah's production of Euripedes' The Trojan Women, and Woyzeck 91, directed by Rina Yerushalmi. Rozik's detailed, unified, 'scientific' methodology requires a patient reader, but the effort will be rewarding: the study is thorough, intelligent, and willing to challenge the acclaimed giants of the semiotic tradition. Of interrelated interest are Rozik's engagement with J. L. Austin's speech-act theory, Bert O. States's phenomenology, and Richard Schechner's performance theory. Highly recommended. --Choice In conclusion, this brilliant book is an absolute must-read for anyone who wishes to analyze performances not only intuitively, but also systematically and on the basis of a sound methodology. Because of its systematic structure, the plausibility of its arguments and its clear language, it is relevant not only to specialists but also to students. Whoever teaches a class on performance analysis will be well advised to use this book. It will help students of theater and performance studies to understand and locate the problems of performance analysis and provide them with the tools to help them find solutions. It is certain that this book is a landmark in the field of performance analysis. --Erika Fischer-Lichte, Freie Universitat, Berlin; Comparative Drama, Vol. 13, No. 1, Spring 2009 Rozik has developed a semiotic performance analysis that takes into account the variety of ways in which the same play can be presented, treating each performance as a unique event with its own semiotic substrata. Rozik applies his method to several different performances. They are diverse as to place presented and in the form they take, from wordless theatre to installation to traditional scripted plays. He considers the play itself, the actors, director and setting making these many units into a concrete whole. Reference & Research Book News Eli Rozik has written a comprehensive and brilliant study of performance analysis. His book joins a long tradition of scholarship on the performance codes of theatre, stretching from the Prague Linguistic School of the 1930s to contemporary writings in theatre semiotics, phenomenology, hermeneutics, and audience response theory Drawing upon an impressive range of knowledge, from philosophy and neuroscience to rhetoric and literary aesthetics, Rozik delivers a rich and complex investigation of theatre performance, written in a clear, forceful style. Thomas Postlewait, editor, Studies in Theatre History, School of Drama, University of Washington Eli Rozik has been at the forefront of the development of the analysis of performance for over two decades and is one of the world leaders in developing a paradigm shift within theatre studies away from the studies of play-texts to the text that is performance. This new book, while situating semiotics within a range of possible theoretical tools, charts the development of the theories of performance analysis that have developed from the early semiotic applications. Brian Singleton, former editor of Theatre Research International, and president of the International Federation of Theatre Research; Trinity College, Dublin Culminating his decades-long work in theatre studies, Rozik offers a far-ranging work that unites and intertwines theatre semiotics, phenomenology, and performance theory. He calls the play-script a deficient text that presupposes its final performance. This performance-text focus does still require semiotic analysis, but semiotics is a substratum of performance that requires other structural strata, which require additional poetic, aesthetic, and rhetoric disciplines of research for a full understanding. The book opens with a dense, precise, state-of-the-art introduction, and the author divides the chapters that follow into three parts: Semiotic Substratum, Additional Strata and Disciplines, and Examples of Performance Analysis. The most engaging is the last, in which Rozik looks at Robert Wilson s H.G., Habimah s production of Euripedes The Trojan Women, and Woyzeck 91, directed by Rina Yerushalmi. Rozik s detailed, unified, scientific methodology requires a patient reader, but the effort will be rewarding: the study is thorough, intelligent, and willing to challenge the acclaimed giants of the semiotic tradition. Of interrelated interest are Rozik s engagement with J. L. Austin s speech-act theory, Bert O. States s phenomenology, and Richard Schechner s performance theory. Highly recommended. Choice In conclusion, this brilliant book is an absolute must-read for anyone who wishes to analyze performances not only intuitively, but also systematically and on the basis of a sound methodology. Because of its systematic structure, the plausibility of its arguments and its clear language, it is relevant not only to specialists but also to students. Whoever teaches a class on performance analysis will be well advised to use this book. It will help students of theater and performance studies to understand and locate the problems of performance analysis and provide them with the tools to help them find solutions. It is certain that this book is a landmark in the field of performance analysis. Erika Fischer-Lichte, Freie Universitat, Berlin; Comparative Drama, Vol. 13, No. 1, Spring 2009 Culminating his decades-long work in theatre studies, Rozik offers a far-ranging work that unites and intertwines theatre semiotics, phenomenology, and performance theory. He calls the play-script a 'deficient text' that 'presupposes its final performance.' This 'performance-text' focus does still require semiotic analysis, but semiotics is a 'substratum' of performance that requires 'other structural strata, which require additional poetic, aesthetic, and rhetoric disciplines of research' for a full understanding. The book opens with a dense, precise, state-of-the-art introduction, and the author divides the chapters that follow into three parts: 'Semiotic Substratum, ' 'Additional Strata and Disciplines, ' and 'Examples of Performance Analysis.' The most engaging is the last, in which Rozik looks at Robert Wilson's H.G., Habimah's production of Euripedes' The Trojan Women, and Woyzeck 91, directed by Rina Yerushalmi. Rozik's detailed, unified, 'scientific' methodology requires a patient reader, but the effort will be rewarding: the study is thorough, intelligent, and willing to challenge the acclaimed giants of the semiotic tradition. Of interrelated interest are Rozik's engagement with J. L. Austin's speech-act theory, Bert O. States's phenomenology, and Richard Schechner's performance theory. Highly recommended. -- Choice Rozik has developed a semiotic performance analysis that takes into account the variety of ways in which the same play can be presented, treating each performance as a unique event with its own semiotic substrata. Rozik applies his method to several different performances. They are diverse as to place presented and in the form they take, from wordless theatre to installation to traditional scripted plays. He considers the play itself, the actors, director and setting making these many units into a concrete whole. -- Reference & Research Book News Eli Rozik has written a comprehensive and brilliant study of performance analysis. His book joins a long tradition of scholarship on the performance codes of theatre, stretching from the Prague Linguistic School of the 1930s to contemporary writings in theatre semiotics, phenomenology, hermeneutics, and audience response theory... Drawing upon an impressive range of knowledge, from philosophy and neuroscience to rhetoric and literary aesthetics, Rozik delivers a rich and complex investigation of theatre performance, written in a clear, forceful style. --Thomas Postlewait, editor, Studies in Theatre History , School of Drama, University of Washington Eli Rozik has been at the forefront of the development of the analysis of performance for over two decades and is one of the world leaders in developing a paradigm shift within theatre studies away from the studies of play-texts to the text that is performance. This new book, while situating semiotics within a range of possible theoretical tools, charts the development of the theories of performance analysis that have developed from the early semiotic applications. --Brian Singleton, former editor of Theatre Research International , and president of the International Federation of Theatre Research; Trinity College, Dublin In conclusion, this brilliant book is an absolute must-read for anyone who wishes to analyze performances not only intuitively, but also systematically and on the basis of a sound methodology. Because of its systematic structure, the plausibility of its arguments and its clear language, it is relevant not only to specialists but also to students. Whoever teaches a class on performance analysis will be well advised to use this book. It will help students of theater and performance studies to understand and locate the problems of performance analysis and provide them with the tools to help them find solutions. It is certain that this book is a landmark in the field of performance analysis. --Erika Fischer-Lichte, Freie Universitat, Berlin; Comparative Drama, Vol. 13, No. 1, Spring 2009

<p> Rozik has developed a semiotic performance analysis that takes into account the variety of ways in which the same play can be presented, treating each performance as a unique event with its own semiotic substrata. Rozik applies his method to several different performances. They are diverse as to place presented and in the form they take, from wordless theatre to installation to traditional scripted plays. He considers the play itself, the actors, director and setting making these many units into a concrete whole. -- Reference & Research Book News

Culminating his decades-long work in theatre studies, Rozik offers a far-ranging work that unites and intertwines theatre semiotics, phenomenology, and performance theory. He calls the play-script a 'deficient text' that 'presupposes its final performance.' This 'performance-text' focus does still require semiotic analysis, but semiotics is a 'substratum' of performance that requires 'other structural strata, which require additional poetic, aesthetic, and rhetoric disciplines of research' for a full understanding. The book opens with a dense, precise, state-of-the-art introduction, and the author divides the chapters that follow into three parts: 'Semiotic Substratum, ' 'Additional Strata and Disciplines, ' and 'Examples of Performance Analysis.' The most engaging is the last, in which Rozik looks at Robert Wilson's H.G., Habimah's production of Euripedes' The Trojan Women, and Woyzeck 91, directed by Rina Yerushalmi. Rozik's detailed, unified, 'scientific' methodology requires a patient reader, but the effort will be rewarding: the study is thorough, intelligent, and willing to challenge the acclaimed giants of the semiotic tradition. Of interrelated interest are Rozik's engagement with J. L. Austin's speech-act theory, Bert O. States's phenomenology, and Richard Schechner's performance theory. Highly recommended. -- Choice

Eli Rozik has been at the forefront of the development of the analysis of performance for over two decades and is one of the world leaders in developing a paradigm shift within theatre studies away from the studies of play-texts to the text that is performance. This new book, while situating semiotics within a range of possible theoretical tools, charts the development of the theories of performance analysis that have developed from the early semiotic applications. --Brian Singleton, former editor of Theatre Research International, and president of the International Federation of Theatre Research; Trinity College, Dublin Eli Rozik has written a comprehensive and brilliant study of performance analysis. His book joins a long tradition of scholarship on the performance codes of theatre, stretching from the Prague Linguistic School of the 1930s to contemporary writings in theatre semiotics, phenomenology, hermeneutics, and audience response theory... Drawing upon an impressive range of knowledge, from philosophy and neuroscience to rhetoric and literary aesthetics, Rozik delivers a rich and complex investigation of theatre performance, written in a clear, forceful style. --Thomas Postlewait, editor, Studies in Theatre History, School of Drama, University of Washington Culminating his decades-long work in theatre studies, Rozik offers a far-ranging work that unites and intertwines theatre semiotics, phenomenology, and performance theory. He calls the play-script a 'deficient text' that 'presupposes its final performance.' This 'performance-text' focus does still require semiotic analysis, but semiotics is a 'substratum' of performance that requires 'other structural strata, which require additional poetic, aesthetic, and rhetoric disciplines of research' for a full understanding. The book opens with a dense, precise, state-of-the-art introduction, and the author divides the chapters that follow into three parts: 'Semiotic Substratum, ' 'Additional Strata and Disciplines, ' and 'Examples of Performance Analysis.' The most engaging is the last, in which Rozik looks at Robert Wilson's H.G., Habimah's production of Euripedes' The Trojan Women, and Woyzeck 91, directed by Rina Yerushalmi. Rozik's detailed, unified, 'scientific' methodology requires a patient reader, but the effort will be rewarding: the study is thorough, intelligent, and willing to challenge the acclaimed giants of the semiotic tradition. Of interrelated interest are Rozik's engagement with J. L. Austin's speech-act theory, Bert O. States's phenomenology, and Richard Schechner's performance theory. Highly recommended. --Choice Rozik has developed a semiotic performance analysis that takes into account the variety of ways in which the same play can be presented, treating each performance as a unique event with its own semiotic substrata. Rozik applies his method to several different performances. They are diverse as to place presented and in the form they take, from wordless theatre to installation to traditional scripted plays. He considers the play itself, the actors, director and setting making these many units into a concrete whole. --Reference & Research Book News In conclusion, this brilliant book is an absolute must-read for anyone who wishes to analyze performances not only intuitively, but also systematically and on the basis of a sound methodology. Because of its systematic structure, the plausibility of its arguments and its clear language, it is relevant not only to specialists but also to students. Whoever teaches a class on performance analysis will be well advised to use this book. It will help students of theater and performance studies to understand and locate the problems of performance analysis and provide them with the tools to help them find solutions. It is certain that this book is a landmark in the field of performance analysis. --Erika Fischer-Lichte, Freie Universit t, Berlin; Comparative Drama, Vol. 13, No. 1, Spring 2009

Author Information

Eli Rozik is Ph.D. and professor emeritus of theatre studies. He was twice head of the Department of Theatre Studies and Dean of the Faculty of the Arts at Tel Aviv University. He specializes in theatre theory, particularly in non-verbal communication in performance analysis; and has published numerous articles in international leading journals in Europe and the US. His books include The Language of Theatre; The Roots of Theatre Rethinking Ritual and Other Theories of Origin; Metaphoric Thinking; Generating Theatre Meaning; Fictional Thinking; Comedy: A Critical Introduction; Theatre Sciences: A Plea for a Multidisciplinary Approach to Theatre Studies; and Future Theatre Research.

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