As a system of signs or of signifying practices aimed at engaging with another system of signs and of signifying practices, the one belonging to the stage, the performance text found its postdramatic equivalent in visual dramaturgy. The critical attention is directed at the image or at the perceived relationship between body, space, sound, light and objects. The mission of visual dramaturgy is represented by the association between the viewer and what is being viewed, the semiotics of the visual, post-narratology, the phenomenology of the body or of the gaze, serving a single aim: organising the action in order to have it performed.
The aim of this paper is to investigate the philosophical connotations of the trope of the dream in William Shakespeare’s A Midsummer Night’s Dream and in Calderón de la Barca’s La vida es sueño. What are the authors’ auctorial catalysts in connecting this trope to their key characters? How do these auctorial devices connect the plays to the needs of the contemporary reader, searching for solutions to the challenges of the 21st century modus vivendi?
the Conquest and end in the present day. The concept presented here by which processes of spatial development are deemed to have taken place represents an original proposal from the authors based on an analysis of the rich subject literature, as well as their own thinking and theorizing. Among the key works that offered a basis for the further development of the new auctorial concept of spatial development were The Conquest of Peru by William H. Prescott (as read in its 1969 version translated into Polish as Podbój Peru ), Marian Małowist’s Konkwistadorzy