One important element emerging from the work of the Pêcheux group (1984) is the quest for a range of procedures, which might permit us to demonstrate that different elements of a given text, in use, will become opaque to (permitting partial reflection in), activate memories in and thus potentially ‘vibrate’ for, different social subjects. ‘Opacity’ is as vital to the actor’s quest for a relationship of felt-experience to, and insertion into, the drama (through, if our hypotheses are valid, a perceived blurring within the regimes of ‘character’, and of ‘thematic system’) as it is to the spectator’s processing and pleasure. But it might be less vital, in 1990s’ mises en scène, to the director’s work, in the sense that in mise en scène we might now equate directorially-experienced and effected opacity with a single-source over-determination leading to the imprint of the directorial signature.
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