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Pursuing the theme of the preceding article, on possible approaches to the teaching of theatre analysis. Susan Melrose here suggests that contemporary linguistics offers a methodology which may help us to look at dramatic texts in such a way as to discover a semantics which transcends the merely verbal. The author proceeds to test her suggested method in a comparative examination of two actual productions – a French and an English version of Pinter's No Man's Land – and looks in detail at the opening scene of Julius Caesar. She concludes that in both cases what the actor often senses intuitively may also be analyzed ‘in process’ in terms of the language and rhetoric of the text. Susan Melrose is presently a Lecturer in Theatre Studies in the University of Tunis. She presented an earlier version of this paper to the Conference on Theatre Analysis held in May 1984 at the University of Warwick, after completing her doctorate at the Sorbonne Nouvelle.

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