On the Use of the Diagram Notion for an Aesthetics of Theatre

Abstract

From the Ars magna and the Ars Combinatoria of Lulio and Leibniz to the semiotics of Peirce and Eco and the hermeneutics of Beuchot the notion of diagram, by its analogy, has been shown to be useful to different disciplines or areas of knowledge, namely, logic, semiotics, hermeneutics, ontology and aesthetics. On this last field, understood as a philosophy of art, Deleuze’s Painting. The concept of a diagram is a milestone regarding its application, specifically, to a reflection on painting and what it offers to philosophy. The purpose of this paper is to study the findings of the French philosopher on the diagram in painting and apply them to theatre, within the framework of the Philosophical Hermeneutics of Beuchot, which has a close relationship with semiotics and the concept of the scenosphere that Cañada proposes following Kowzan, to found an aesthetic of the theater. The approach has a preliminary nature, suitableto engage in a dialogue aimed at the appreciation of theatrical productions. The proposition is, thus, that the notion of diagram makes possible an aesthetics of theater under the protection of hermeneutics and semiotics.