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French:
action parlée. English:
speech act. German: sprechhandlung. Spanish: acción
hablada. In
theatre, the action is not just the situation of movement or of
scenic perceivable agitation. It is also situated, especially in Greek
tragedies, inside the character and its evolution, its decisions, and
therefore, of its speeches. That is how the term speech act is formed (according to Pirandello’s definition of “azione
parlata”). Every speech that takes place on stage is performing , and it is there that, more than in any other place,
saying means doing. D’Aubignac was extremely aware of this fact, Corneille
turned his monologues into actual dissertation gifts, Claudel put the “kabuki”,
when the actors speak, against the “bunraku”, when the speech acts. Every theatre
man knows, as Sartre, that “language means action, that there is a particular
language in theatre and that this shall not be descriptive, (…) that language
is a moment of action, as in life, e that it exists to give orders, to forbid
things, to argue, to expose feelings (with an active point), to convince,
defend or acuse, to manifest decisions, to verbal duels, refuses confesions,
etc; in short, always making the action move forward.