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Lenna other names that are in some cases known to more than historianstheatre than academics. But at the time they were just theorists, andtheir mouths sounded important from the point of view of the future semiotics of thought.Look at some of them. The new theatre made a problem of the viewer, which is one ofCentral to the future of semiotics of the theatre. "Home theater in General is not sensitive tothe principles of its existence, -- writes M. M. Bonch-Tomashevsky,-- could not to think about the role of the viewer. Its main task wasin order conscientiously to fulfill the instructions of the author and maycarefully forge a life. A new theatre reviewing all the basics of yourcreativity can not avoid the question about the relationship between the viewer and the scene, notcan work, without thinking about what kind of plane is this workrelative to perceiving it" (Bonch-Tomashevsky, M. M. the Audiencescene. 1. The viewer as a participant in the theater // the Mask. -- 1912. -- No1. P. 69). Conclusion - "the audience is a party to the action, one ofthe composite elements of theatrical creation" (ibid.P.70). Not less important semiotic property is unusualthe role of speech for the theatre because it is built on the basis of not oneverbal, and multiple languages. And it was also mastered in that period."The power of words is limited to poetry, in poetry the word is valuable in itself, only givesthe criterion for judgment. In the theater the word is friend, but not the owner. Ieit is only effective word is useful and acceptable to the theatre this last.Effective word not prejudge the movement, but completeshim.Effective poet in the pantomime voltage tellsthe words of the actor, and these words are crowned with triumphal pantomime, throw inprepared by the gesture auditorium concretization of this gesture,"(Bonch-Tomashevsky, M. M. Theatre and ritual //Mask. - 1912 -1913. ~ No 6.P. 15). Later we will return to this issue in the conceptV. E. Meyerhold.
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