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A2 of my creative space now takes the lead
to break the codes by making a critical incursion into the
inspired fable of the SL text. The decipherment at this
level is dissective and it leaves the shell is dissective
and it leaves the shell of the SL Text smashed and the vital
layers stripped. But for A2 (the initiator of comprehension),
the act is a symbolic rendering of the spiritual dynamics
of translation. However, it goes against the naive inspiration
of A1 during the act of comprehension leading to interpretation
/ translation. It is a primal hunt for meaning.
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The interference of A2 (a) at the level
of comprehension/ interpretation is more vital. A2 (a) would
interpret a piece of background music, the movements of
the artists from one acting zone to the other, various colours
and levels of intensities of light and the stage- designer's
positioning of the properties/objectives. Mr.A2 (a) demands
a nonverbal code to be revealed in which the act of decipherment
and decodification is not only "aggressive and dissective,
it is also (in Steiner's dramatisation) a bone-shatteringly
arduous work" (Sharp1989: 139).
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The translation of a dramatic text becomes
problematic because of its two strands of narrative lines
- linguistic and semiotic. A2, always used to the linguistic
mode, would deploy his isolating device of langue and parole
to relocate (may be to dislocate as well) the semiotic codes
or the system's signs to establish the set of combinatory
rules that give rise to all its internal relations. Although
this turning of the focus toward the structure comes within
the limits of linguistic structure, it becomes an extralinguistic
reality in relation to the comprehension or interpretation
of A2 (a).
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As a supporter of the semiotic narrative,
the Director (A2 (a)) feels the necessity of dechronologizing
and relogicizing the dramatic narrative. He may also try to
do so by subordinating every syntagmatic (and therefore temporal)
aspect of the narrative to a corresponding paradigmatic (and
therefore achronological) aspect. The act of A2 (a) is just
an extension of linguistics to narrative semiotics, but it
also brings about a lot of strategic change of levels in narratology.
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(c) Incorporation:
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With all such investments of trust and multiple
levels of comprehension, A2 encounters the third stage of
his project, in which, he would, now, deal with an attitudinal
crisis called "incorporation" - "the import
of meaning and of form, the embodiment" (which) "is
not made in or into a vacuum. The entire semantic field is
crowd" (Steiner 298). Each of the intra-authorial segments
comes forward, ready with its own structures of understanding,
to absorb and domestic this esoteric and creative reality,
this may dislocate or relocate the whole structure of Devaki's
(SL) as it is being nurtured by Yashoda's principles.
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